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Contemporary  Dramatist.  Series 

Authorized  Tr.inslation  b\  Charla  A.  Wcissert 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


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THE  GEO  RUE  t.  LA^N  VkUUI-&wiiv« 


Contemporary  Dramatists  Series 

THE  SORCERESS 

A  Dra^na  ifi  Five  Acts 

BY 

VICTORIEN  SARDOU 


Authorized  Translation  from  the  French  by 

CHARLES  A.  WEISSERT 

With  an  Introduction  by  the  Translator 


BOSTON:  RICHARD  G.  BADGER 

TORONTO:    THE  COPP  CLARK  CO.,  LIMITED 


Copyright,  1917,  by  Richard  G.  Badger 
All  Rights,  including  those  of  Presentation,  Reserved 


The  Gorham  Press,  Boston,  U.S.A. 


Printed  in  the  United  States  of  America 


S7E 


TO  THE  MEMORY 

OF 

GEORGE  WASHINGTON  SOUTH,  JR. 


2013921 


SARDOU  AND  HIS  WORK 


Victorien  Sardou  was  born  in  Paris  on  Septem- 
ber 7,  1 83 1.  His  father,  a  native  of  the  vicinity 
of  Cannes  on  the  Mediterranean,  came  to  Paris 
in  1 8 19  and  followed  a  variety  of  scholastic  pur- 
suits. His  mother  was  a  resident  of  the  ancient 
city  of  Troyes.  Victorien's  father  finally  engaged 
in  literary  work,  edited  text  books  and  taught 
in  schools.  His  interesting  personality  made  for 
him  many  friends.  He  never  became  well-to-do; 
on  the  contrary,  he  became  so  entangled  in  indebted- 
ness that  he  gave  up  Paris  and  returned  to  his  olive 
groves  in  the  south  with  the  hope  of  being  able  to 
satisfy  his  creditors.  He  left  behind  him  Victorien, 
aged  twenty-two,  who  was  struggling  to  displace 
with  studies  in  surgery  and  medicine  his  dreams  of 
becoming  a  poet  and  dramatist.  But  he  could  not 
change  his  gods.  A  youth  who  had  read  before 
he  was  twelve  years  old  the  works  of  Moliere, 
who  had  enthusiastically  studied  archaeology  and 
important  periods  of  the  world's  history  and 
who  had  delved  deeply  into  all  literature,  espe- 
cially into  the  works  of  master  poets  and  play- 
wrights, was  not  made  of  stufiE  moldable  into  some- 

5 


6  THE  SORCERESS 

thing  other  than  his  true  self.  Saddened  by  the 
death  of  two  sisters  and  left  alone  by  his  father, 
Sardou  continued  his  medical  studies,  meanwhile 
residing  in  a  garret.  His  existence  would  have 
been  extremely  miserable  had  he  not  been  able  to 
see  an  occasional  play  by  Hugo,  and  to  satisfy  in- 
frequently his  great  passion  for  the  opera.  In  re- 
ferring to  those  days  of  struggle,  he  said : 

"Ah,  don't  talk  to  me  of  music;  that  is  one  of 
my  passions.  I  remember  a  long  time  ago  when  I 
went  to  the  opera — not  in  a  box  of  stalls,  but  right 
up  in  the  gallery — to  hear  'Les  Huguenots'  or  'Le 
Prophete — I  delighted  in  Meyerbeer — the  seats 
were  four  francs  apiece.  I  had  probably  pawned 
my  best  coat  to  get  there;  but  there  I  was,  and  I 
never  think  of  those  costly  evenings  without  re- 
membering how  I  enjoyed  them,  and  felt  a  certain 
sense  of  gratification  that  I  have  never  experienced 
since." 

Sardou's  inspiration  to  follow  literature  began 
with  an  incident  which  has  often  been  related.  In 
a  mood  of  wretchedness  caused  by  poverty  and  the 
caging  of  his  ambitious  soul  in  a  bleak  garret,  he 
stood  in  a  doorway  near  the  College  of  Medicine 
to  escape  the  rain  and  his  thoughts  turned  to  sui- 
cide. Obsessed  with  this  desire,  he  walked  into 
the  storm.  A  water-carrier,  who  instantly  took  his 
place  of  shelter,  exclaimed: 

"Ah,  my  friend,  you  do  not  know  when  you 
are  well  off." 

An  instant  later  a  block  of  granite  fell  from  the 
building  —  which  was  under  construction  —  and 
killed   the  water  carrier,     Sardou   accepted   his  es- 


THE  SORCERESS  7 

cape  from  death  as  an  omen  that  he  was  destined 
to  h've  and  to  become  great.  Immediately  he  be- 
gan those  several  years  of  desperately  hard  work  in 
which  he  served  apprenticeship  for  his  future 
career. 

Of  this  period  of  Sardou's  life  a  writer  who 
knew  him  well  said: 

"Only  those  who  have  known  the  sting  of  bitter 
want  can  fully  appreciate  the  agony  of  the  intel- 
lectual student's  career.  The  eager  brain,  the  fam- 
ished body,  the  long  night-watches  and  hideous 
nightmares,  the  struggle  to  make  both  ends  meet, 
to  keep  body  and  soul  together,  the  continual  battle 
with  poverty,  pride,  ambition,  hope  and  despair. 
Sardou's  young  life  was  such  a  struggle.  He  pos- 
sessed a  valiant  soul,  and  he  did  not  give  way;  the 
more  he  had  to  work  against,  the  harder  he  worked, 
and  every  new  trial  fell  like  a  pointless  dart  against 
the  steel  armor  of  his  resistance.  He  determined  to 
become  some  one,  and  he  realized  that  the  bridge 
which  spans  greatness  and  nothingness  is  knowl- 
edge." 

Desperate  but  enthusiastic,  Sardou  toiled  with 
his  pen  upon  articles  for  a  great  variety  of  publi- 
cations, receiving  poor  pay,  which  he  supplemented 
with  fees  received  for  tutoring.  He  was  a  tireless 
student.  When  he  wrote  upon  topics  pertaining 
to  history  or  to  literature,  he  spoke  with  authority. 
The  Middle  Ages,  the  Reformation  and  the  great 
events  of  the  past  which  made  and  unmade  nations 
and  their  policies  appealed  to  his  poetic  tempera- 
ment. He  toiled  day  and  night,  and  amassed  an 
amount  of  erudition  seldom   possessed  by  any  but 


8  THE  SORCERESS 

scholars  of  renown.  In  the  meantime  he  was  work- 
ing upon  his  first  plays. 

"These  were  the  occasions  when  I  could  not  af- 
ford sardines  and  dry  bread,"  said  Sardou,  "and  I 
had  to  go  to  bed  supperless." 

On  April  I,  1854,  the  manager  of  the  Odeon 
Theatre  attempted  to  produce  Sardou's  play  Le 
Taverne  des  Etudients,  which  the  crowd  hissed  from 
the  stage  without  witnessing  it,  and  brought  dis- 
appointment and  sorrow  to  the  young  author.  With 
the  year  1857  came  the  earliest  rewards  for  Sardou's 
long  years  of  labor:  marriage  and  the  route  to  suc- 
cess. Poverty,  lonesomeness,  the  cramped  quarters 
of  a  gloomy  garret  and  the  accompanying  misery 
and  hopelessness  of  an  unrealized  ambition  were  not 
enough:  an  illness  of  t3'pho!d  fever  must  bring 
despair  as  a  climax.  On  another  floor  in  the  house 
resided  Mile,  de  Brecourt,  an  actress,  and  her 
mother.  When  the  young  woman  heard  that  the 
quiet,  studious  young  man  whom  she  had  often 
seen  was  likely  to  die,  her  pity  was  roused  and  she 
became  his  faithful  nurse.  In  addition  to  saving 
Sardou's  life,  she  was  the  means  of  introducing  him 
to  Madame  Dejazet,  who  established  the  Theatre- 
Dejazet.  In  1858  Sardou  and  Mile,  de  Brecourt 
were  married.  Sardou's  plays  found  favor  with 
Dejazet,  whose  talents  proved  adaptable  for  por- 
traying his  characters,  and  success  followed  success. 
In  1 861  he  was  decorated  with  the  Legion  of  Honor. 
Nine  years  after  she  had  married  Sardou — during 
which  time  she  had  seen  her  husband  attain  fame 
and  wealth — Madame  Sardou  died.  Sardou  con- 
tinued to  work  and  his  fame  became  international. 


THE  SORCERESS  9 

Europe's  p;rcatest  theaters  were  producing  his  plays. 
In  1872  he  was  united  in  marriage  with  Mile.  Anna 
Soulie,  daughter  of  the  curator  of  the  museum  in 
Versailles.  The  marriage  was  extremely  happy  and 
the  dramatist's  success  continued.  In  1877  Sardou 
was  elected  a  member  of  the  French  Academy. 
Though  immensely  wealthy,  Sardou  resided  simply 
at  his  villa  in  Marley-le-Roi  near  Versailles.  He 
also  had  two  country  homes  near  Cannes,  where 
his  forefathers  lived,  and  a  residence  in  Paris, 
which  he  occupied  principally  for  business  purposes. 
Like  Scott,  Sardou  had  a  great  passion  for  books 
upon  every  subject,  and  his  home  at  Marley,  like 
Abbotsford,  contained  thousands  of  volumes. 
Honors  from  literary  and  art  societies  throughout 
Europe  came  to  him.  In  making  appointments  to 
posts  in  which  a  knowledge  of  literature  and  the 
fine  arts  were  important  qualifications,  the  French 
government  consulted  with  Sardou,  who  was  con- 
sidered an  authority.  The  productive  years  of  his 
life  were  serene  ones.  He  was  very  generous,  al- 
ways ready  to  encourage  tlie  aspirant,  and  had  no 
jealousies.  His  was  a  remarkable  personality.  The 
late  Edmondo  de  Amicis  thus  describes  him: 

"Sardou  looked  a  little  like  Napoleon,  a  little 
like  Voltaire  and  a  little  like  the  smiling  portrait 
of  a  malicious  actress  which  I  had  seen  in  a  shop 
window  on  the  previous  day.  He  wore  a  large  black 
velvet  cap,  below  which  fell  long  waving  gray  locks. 
He  had  a  silk  hankerchief  round  his  neck  and  was 
wrapped  in  a  wide  dark-colored  jacket,  which  looked 
like  a  demi-dressing  gown.  My  attention  was  riveted 
by   his  strange   face,   without   beard   and   colorless. 


lo  THE  SORCERESS 

with  a  long  nose  and  pointed  chin  and  irregular  and 
strongly  marked  features,  lighted  up  by  two  keenly 
sparkling  gray  eyes,  full  of  thought,  the  glances  of 
which  correspond  with  the  rapid  motion  of  the  thin 
and  flexible  lips,  and  the  acute  yet  kindly  expression 
of  the  whole  face,  sometimes  illumined  by  a  bright, 
slightly  mocking  smile,  like  that  of  a  quite  young 
man.  He  did  not  look  more  than  70  years  of 
age,  and  when  he  spoke  he  seemed  still  younger. 
He  spoke  with  the  fluency  of  an  actor  who  abuses 
that  power.  It  was  not  necessary  to  question  Sar- 
dou.  He  began  to  converse  with  a  fluency,  an  ease 
and  a  vivacity  of  accent  and  gesture  which  fore- 
stalled all  my  questions  and  satisfied  my  curiosity 
with  such  an  appearance  of  intimacy  and  confidence 
that  I  was  at  first  quite  stunned,  uncertain  whether 
I  was  in  the  presence  of  the  most  expansive  and 
frankest  man  I  had  ever  met  or  of  the  profoundest 
and  cleverest  actor  that  the  human  mind  can 
imagine." 

In  his  seventy-eighth  year,  at  the  time  when  he 
received  the  news  of  the  success  of  his  last  play, 
UAffaire  des  Poisons,  Sardou,  who  had  been  con- 
valescing from  an  illness  of  pulmonary  congestion, 
became  suddenly  worse  and  died  in  Paris  on  No- 
vember 8,  1908.  His  funeral  was  held  on  Novem- 
ber II  in  the  Church  of  St.  Frangois  de  Sales.  The 
obsequies  were  national  in  character.  Like  all  those 
who  had  received  the  Grand  Cross  of  the  Legion 
of  Honor,  Sardou  was  given  a  military  burial. 
Previous  to  the  removal  of  tlic  body  from  the  house 
to  the  church,  eulogies  were  delivered  before 
Sardou's    intimate    friends    and    members    of    the 


THE  SORCERESS  n 

Academy.  Those  present  were  Frenchmen  dis- 
tinguished in  art,  literature,  science  and  politics. 
Thousands  of  persons  representing  every  class  of 
Parisian  life — for  Sardou's  name  was  known  alike 
in  mansion  and  tenement — stood  with  lifted  hats 
as  the  funeral  procession  passed  on  its  way  to  Mar- 
ley,  and  thousands  followed  the  hearse  to  the  family 
burial  place.  From  all  parts  of  the  world  telegrams 
of  condolence  were  received  by  M.  Sardou's  family. 
From  Cairo  Madame  Sarah  Bernhardt,  whose  fame 
resulted  from  her  interpretations  of  the  characters 
in  Sardou's  plays,  cabled :  "France  loses  one  of  its 
glories,  Paris  a  friend,  all  the  unhappy  a  protector, 
and  we  artists  our  beloved  master,  Victorien 
Sardou." 

II 

Among  those  who  discuss  the  drama  there  is  a 
tendency  to  depreciate  Sardou's  work.  Such  an 
attitude  is  probably  only  natural  during  a  time 
when  homage  is  so  universally  directed  to  such 
realists  and  dissectors  of  modern  social  life  as  Ibsen 
Pinero,  Brieux,  Hervieu  and  Shaw.  The  principal 
complaint  brought  against  Sardou  is  the  charge  that 
he  made  mechanical  plays  in  which  all  material  was 
subordinated  to  the  plot,  that  his  characters  are  like 
marionettes  made  vocal  and  that  he  "manufactured" 
theatrical  pieces  to  portray  the  talents  of  certain 
histrionic  "stars."  If  these  qualities  alone  are  the 
basis  for  condemnation  of  Sardou's  plaj's,  something 
more  must  be  offered  to  convince  the  public  that  he 
is    not    fit    to    stand    among    the    modern    master 


12  THE  SORCERESS 

dramatists.  If  they  are  requirements  necessary  for 
a  plaj'wright  to  attain  a  world-wide  reputation,  to 
become  a  member  of  the  celebrated  Academy  and 
of  numerous  other  societies  in  which  high  scholar- 
ship is  demanded  for  admission,  one  questions  the 
consistency  of  the  statements  of  the  critics ;  if  plays 
containing  these  qualities,  presented  by  actors  and 
actresses  of  international  fame  in  the  world's  prin- 
cipal centers  of  culture — where  a  play  by  Sardou 
was  an  important  public  event — realized  for  their 
creator  during  several  decades  the  goal  of  every 
plaj'M'right :  success,  fame  and  the  accompanying 
financial  reward,  then  one  not  only  questions  the 
consistency  of  the  critics  but  also  their  qualifications 
for  posing  as  "authorities"  on  the  drama. 

It  is  popular  to  depreciate  Sardou,  but  much  of 
this  depreciation  w'ould  become  admiration  were 
it  not  for  the  fact  that  for  those  who  do  not  read 
French  only  a  few  of  his  plays  are  available  in  trans- 
lations. Students  of  the  drama,  therefore,  are  com- 
pelled to  accept  the  opinions  of  others  instead  of 
basing  their  knowledge  upon  a  first-hand  acquain- 
tance with  Sardou's  work.  His  high  position  among 
the  dramatists  of  France  alone  would  demand  an 
explanation  of  the  reasons  why  his  productions  ap- 
pealed to  cultured  and  cosmopolitan  audiences,  which 
included  scholars,  diplomats,  royalty — persons  not 
likely  to  waste  time  in  flocking  to  see  the  work  of 
a  mediocrist. 

No  one  in  the  world  ever  understood  better  the 
technique  of  playwriting  than  did  Sardou.  Both 
he  and  Ibsen  recognized  Scribe's  genius  for  tech- 
nique: Sardou  acquired  Scribe's  craftsmanship,  dc- 


THE  SORCERESS  13 

veloped  it  and  improved  upon  it;  Ibsen  used  of  it 
what  he  could  in  his  ch'nical  excursions  into  the 
whys  and  wherefores  of  Life — the  one  reflected  the 
French  spirit,  the  heritage  of  the  epic  and  romantic 
past,  the  social  life  preceding  the  fall  of  the  Second 
Empire  and  the  national  life  since  then ;  the  other, 
grimly  Teutonic  in  temperament,  mined  to  the  roots 
of  human  life  and  ironically  upheld  the  mirror  to 
all  classes  revealing  the  secrets  of  their  souls.  Into 
lighted  streets,  into  halls  and  mansions,  into  courts 
and  Capitols,  into  palaces  and  into  throne-rooms, 
Sardou  passed  studying  minutely  the  movements  of 
his  personages;  Ibsen,  with  the  attentive  scrutiny 
of  a  hospital  aide  seeking  the  wounded,  turned  his 
flash-light — a  flash-light  with  microscopic  power — 
into  dark  corners,  into  alleys,  into  humanity's  every 
haunt.  The  great  Frenchman  and  the  great  Nor- 
wegian both  studied  medicine  and  gave  it  up  before 
becoming  playwrights.  Their  selections  of  working 
materials  were  truly  characteristic  of  their  national 
temperaments.  Both  have  had  an  inestimable  in- 
fluence upon  the  drama  of  all  nations. 

Sardou  was  structural  in  his  craftsmanship  in 
the  sense  that  he  created  his  plays  with  the  skill 
of  an  artisan  working  with  steel  and  stone,  and 
eliminated  everything  unnecessary  in  making  his  pro- 
duction symmetrical.  He  w^as  a  realist  in  the  sense 
that  he  never  hesitated  to  portray  what  he  thought 
would  convey  his  idea  complete  to  the  audience.  If 
a  thrill  of  horror  would  effectively  drive  home  a 
point,  he  used  it.  In  his  satirical  plays  he  was 
merciless  in  handling  the  vanities  and  vagaries  of 
society.     While  Sardou  aspired  to  become  a  play- 


14  THE  SORCERESS 

Wright,  he  studied  Shakespeare  and  regarded  verse 
as  the  best  medium  for  presenting  lofty  themes,  but 
after  he  studied  the  stage  he  changed  this  view  and 
wrote  his  principal  plays  in  prose,  though  the  ma- 
terial is  often  admirably  adapted  for  metrical  ex- 
pression. Sardou's  historical  dramas  are  lofty  in 
theme.  They  are  true  to  their  times,  and  appeal 
universally  to  those  interested  in  life  outcropping 
from  mighty  changes  of  conditions  in  the  past.  His 
deep  knowledge  of  history,  art  and  archaeology  is 
evident  in  historical  dramas  in  which  costumes, 
decorations,  interior  details,  furniture  and  other 
properties  used  for  the  setting  compositely  reproduce 
the  atmosphere  of  the  period  depicted  by  the  action. 
None  knew  better  than  Sardou  the  life  about  him. 
He  studied  personalities  in  their  intricate  relation- 
ship in  society.  He  never  preached.  He  never 
sacrificed  plot  in  order  to  prove  a  thesis,  thereby 
escaping  the  prolixity  of  which  some  of  the  "real- 
ists" are  often  guilty.  His  plays  have  morals,  but 
they  are  skillfully  hidden  behind  his  technique, 
which  supplements  a  natural  gift  of  analysis  and 
an  intuitive  power  for  recognizing  and  selecting  sub- 
ject matter  pleasing  to  cosmopolitan  Parisian  audi-' 
ences.  His  comedies  portraying  contemporary  life 
were,  with  a  few  exceptions,  enthusiastically  re- 
ceived, and  were  the  stepping  stones  by  which  actors 
and  actresses  rose  to  world-wide  celebrity.  For 
impressive  compositions  Verdi  and  Offenbach  found 
inspiration  in  Sardou's  creations. 

The  result  of  Sardou's  long  years  of  hard  work 
was  a  prolific  production  of  comedies  and  dramas. 
The  principal  ones  and  the  dates  of  their  production 


THE  SORCERESS  15 

were  as  follows: 

La  Tavern e  des  f'Jndianis,  1854;  Les  Premieres 
Amies  de  Fitjaro,  1859;  Les  Pattes  de  Mouclie, 
i860;  Nos  Intimes,  1861;  La  Papillonne,  1862; 
Les  Vieux  Gargons,  1865;  Pairie!,  i86g;  Fernande, 
1870;  Andrea,  1873;  La  Ilaine,  1874;  Daniel 
Rochat,  1880;  Dit'orQons,  1880;  Theodora,  1884; 
La  Tosca,  1887;  Cleopatre,  l8pO;  Thermidor, 
l8gi ;  Madame  Sans-Gene,  i8pj;  Gismonda,  1894; 
Pamela,  1898;  Robespierre,  i8()g ;  Dante,  IQOJ; 
La  Sorciere,   JQOJ;  L' Affaire  des  Poisons,   1^07. 


Ill 

Sardou's  marvelous  theatrical  technique  is  no- 
where better  exemplified  than  in  La  Sorciere,  one  of 
his  last  trapjedies.  Bigotrj',  love,  superstition  and 
persecution  arc  the  predominating  elements  of  the 
action,  which  is  laid  in  Granada  immediately  after 
the  conquest  by  the  Spaniards,  What  better  ma- 
terial for  romance?  The  principal  figures  are  a  Cas- 
tilian  officer  and  a  cultured  Moorish  woman,  who, 
ignoring  an  edict  of  the  Inquisition  inflicting  the 
death  penalty  upon  alliances  between  Christians  and 
unconverted  Moslems,  have  the  strength  to  assert 
their  rights  as  normal  human  beings — and  to  suf- 
fer the  inevitable  consequences.  It  is  the  depiction 
of  a  struggle  for  individual  freedom  in  which  the 
common  truths  of  the  human  heart  beat  hopelessly 
for  expression  against  the  bigotry  of  the  masses  and 
the  bigotry  of  those  who  not  only  know  better  but 
who  also  use  it  as  an  agency  in  strengthening  their 


i6  THE  SORCERESS 

own  power.  The  result  is  the  old  struggle  between 
knowledge  and  ignorance,  between  love  for  one's 
religion  and  country  and  for  the  satisfaction  of 
the  soul's  desire  regardless  of  traditions  discarded 
and  of  idols  knocked  down  in  the  accomplishment  of 
that  desire.  In  this  process  of  emerging,  of  transi- 
tion, in  this  sudden  seizure  by  unknown  forces  upon 
new  combinations  of  circumstances,  in  this  bidding 
farewell  to  the  old  while  hailing  with  allegiance 
that  of  which  we  are  unaware  until  the  clarifying 
moment  arrives,  lies  the  essence  of  tragedy.  "It  is 
possible,"  said  the  late  William  James,  "that  Being 
may  be  a  great  sea  of  consciousness,  some  of  the 
fag  ends  of  which  are  human  minds."  It  is  in  the 
interplay,  in  the  constant  weaving  and  raveling 
of  that  cosmic  pattern  which  we  call  life  that  the 
dramatist  finds  the  few  wisps  of  experience  suitable 
for  interpreting  his  own  understanding  of  a  certain 
phase  of  existence.  "The  representation  of  a  great 
misfortune  alone  is  essential  to  tragedy,"  declared 
Schopenhauer.  "Characters  of  ordinary  morality, 
under  circumstances  such  as  often  occur,  are  so 
situated  with  regard  to  each  other  that  their  posi- 
tion compels  them,  knowingly  and  with  their  eyes 
open,  to  do  each  other  the  greatest  injury  without 
any  of  them  being  entirely  in  the  wrong."  Under 
this  definition.  La  Socriere  qualifies  exactly  as  a 
tragedy. 

In  creating  his  plays  Sardou  did  not  attempt  to 
conform  to  any  particular  definition.  He  was  in- 
dependent in  choice  of  materials  and  in  method  of 
handling:  the  purpose  justified  the  treatment.  In 
La  Soiriere  he  showed  liis  hatred  of  tyranny,  and 


THE  SORCERESS  17 

he  puts  into  tlie  mouth  of  Zoraj'a,  the  Moorish 
woman,  in  that  powerful  seventh  scene  of  Act  IV, 
one  of  the  bitterest  denunciations  of  the  Inquisition 
ever  made  through  the  drama.  Sardou  studied  his- 
toric events  with  the  eyes  of  a  scientist.  He  was 
interested  in  hypnotism  and  in  spiritualism.  While 
studying  the  Middle  Ages  he  concluded  that  the  so- 
called  sorcery  of  that  time  was  nothing  else  but 
hypnotism,  long  known  to  the  Orientals  and  intro- 
duced by  them  among  the  Moors.  It  was  only 
natural  that  an  age,  so  reeking  with  superstition 
that  it  persecuted  the  man  who  declared  that  the 
earth  revolves  around  the  sun,  should  brand  as  an 
agent  of  the  devil  any  one  familiar  with  hypnotic 
power.  Through  a  feminine  character  in  whom 
were  combined  the  best  qualities  of  Mohammed- 
anism and  the  gift  of  healing,  Sardou  was  able 
to  throw  the  strongest  light  upon  superstition  in  the 
Middle  Ages. 

The  plot  of  Ln  Snrciere  is  the  work  of  a  master 
craftsman.  In  motivation  and  in  development  of 
situation  the  play  is  so  well  rounded  that  no  part 
can  be  removed  without  spoiling  the  whole.  The 
action  opens  with  a  humorous  scene  in  which  a  petty 
officer  vested  with  authority  is  bullying  a  crowd 
of  peasants,  among  whom  is  supposed  to  be  the 
culprit  who  stole  the  corpse  of  an  executed  criminal 
publicly  exposed — the  body  being  that  of  an  un- 
converted Moor  who  had  loved  a  Christian  girl.  In 
this  scene  Sardou  begins  to  draw  his  background 
of  superstition  by  means  of  the  words  of  the  ignorant 
natives,  who  jump  at  a  suggestion  of  one  of  their 
number,    and    denounce    as    the    thief    Zoraya,    the 


i8  THE  SORCERESS 

"Sorceress."  In  a  scene  poetic  with  romance  and 
beauty  Don  Enrique  and  Zoraya,  whom  he  wishes 
to  arrest,  drift  into  the  same  relation  which  re- 
sulted in  the  death  of  the  young  Moor,  whose  body 
had  been  stolen.  This  act  is  the  great  corner-stone 
of  the  drama.  Sardou's  skillful  motivation  prepares 
the  reader  for  developments  in  the  coming  four 
acts,  but  this  craftsmanship  is  so  carefully  hidden 
that  the  relations  of  incidents  are  so  natural  that 
they  come  in  the  form  of  surprises.  The  sequence 
of  the  events  is  perfect.  The  transition  from  the 
first  to  the  second  act,  in  which  develop  Don 
Enrique's  dangerous  secret  relationship  with  Zoraya 
and  his  inexplicable  reason  for  discontinuing  his 
visits  to  her,  is  perfectly  natural,  and  the  last  scene 
of  the  act,  consisting  of  only  a  few  phrases  of  ex- 
planation, suddenly  reveals  such  an  astonishing  com- 
plication that  the  effect  is  nothing  short  of  tre- 
mendous. With  a  climax  so  effective  the  entire 
foundation  of  the  action  is  laid.  We  have  learned 
that  the  Christian  girl  whom  Zoraya  has  begun  to 
cure  with  hypnotic  power  is  to  become  the  bride  of 
Don  Enrique,  a  fact  which  she  did  not  know  be- 
fore the  girl  was  taken  away  happy  with  the  thought 
that  she  should  now  be  more  acceptable  to  her 
lover. 

In  the  third  act  Don  Enrique's  character  is  tested 
in  a  struggle  which  he  loses  with  overpowering  cir- 
cumstances. Gossips  open  the  action  with  a  frivo- 
lous discussion  of  the  marriage  of  Don  Enrique  and 
the  governor's  daughter.  They  satisfactorily  ex- 
plain that  the  parents  of  the  couple  years  before  had 
arranged    the    marriage.      They    also   gossip    about 


THE  SORCERESS  19 

sorcerers  and  sorceresses.  From  suggestions  we 
learn  that  Zoraya  is  in  danger,  and  that  lier  rela- 
tions with  Enrique  are  known.  Close  by  the  nuptial 
chamber  begins  the  clash  of  fateful  circumstances, 
which  decide  within  a  short  time  the  destinies  of 
Don  Enrique  and  Zoraya.  Near  the  conclusion  of 
this  act  we  have  the  purest  essence  of  tragedy,  if 
we  accept  Aristotle's  statement  that  tragedy  is  an 
imitation  of  actions  which  are  terrible  and  piteous. 
Enrique,  after  nobly  refusing  to  renounce  his  coun- 
try and  his  religion  and  to  flee  with  Zoraya  to 
Morocco,  is  forced  to  become  with  her  a  fugitive 
after  he  unintentionally  kills  an  agent  of  the  In- 
quisition who  suddenly  detects  them  and  attempts 
to  arrest  Zoraya.  Flight  and  pursuit  of  Don 
Enrique  and  Zoraya  close  the  act.  This  scene  is  one 
of  gripping  intensity'. 

The  merciless  execution  of  power,  the  intolerance 
and  tyranny  of  the  Holy  Inquisition  are  portrayed  in 
an  exemplification  of  a  session  of  that  body  in  the 
fourth  act.  Again  the  action  to  be  developed  is 
disclosed  by  the  conversation  of  monks  waiting  for 
the  council  to  convene.  We  learn  that  Zoraya  and 
Don  Enrique  have  been  captured.  We  know  the 
penalty  likely  to  be  pronounced  upon  them,  but 
we  remember  that  it  is  Zoraya  alone  who  has  the 
power  of  restoring  to  consciousness  the  daughter  of 
the  governor  and  bride  of  Enrique,  who  is  deeply 
sleeping  on  her  nuptial  night.  The  unrelenting 
cruelty  used  by  the  Inquisition  in  making  the  cap- 
tive hag  and  the  unfortunate  young  girl  testify 
against  Zoraya,  from  whom  they  wring  a  confes- 
sion to  sorcery  in  order  to  free  Don  Enrique,  rouses 


20  THE  SORCERESS 

pity  and  indignation,  which  increase  to  highest  pitch 
when  her  lover,  who  stands  at  the  side  unobserved 
by  her  until  she  has  told  all,  is  deceived  into  be- 
lieving that  she  is  a  sorceress  and  that  he  has  been 
victimized.  But  this  has  not  been  done  without 
bringing  upon  the  members  of  the  Inquisition 
Zoraj^a's  storm  of  righteous  denunciation.  There  is 
anguish  unutterable  when  Don  Enrique,  who  does 
not  know  that  Zoraya  has  made  the  greatest  sacrifice 
that  a  human  being  can  make,  accuses  her  of  being 
false.  To  this  injustice  is  added  the  climax  of  the 
act  which  closes  with  this  awful  sentence:  "We 
shall  burn  her  after  vespers." 

The  final  act  is  short  and  intense.  Zoraya  has 
been  sentenced  to  death,  but  we  know  that  she  still 
holds  the  possible  price  of  her  freedom.  The  final 
setting  of  the  play  is  magnificent:  it  is  characteristic 
of  Sardou.  Here  is  a  street  scene  in  front  of  a 
great  cathedral  near  which  is  a  pyre  ready  for 
burning  Zoraya.  Into  this  act  are  packed  all  of  the 
color,  the  pomp  and  the  pageantry  of  the  church  and 
chivalr}'  of  the  heroic  age  in  Spain.  There  is  a 
wonderful  procession,  a  stirring  mob  scene,  intensi- 
fied with  the  solemn  sounds  of  religious  chanting, 
the  roll  of  organ  music  and  the  resonant  boom  of 
tower  bells.  Don  Enrique  learns  of  Zoraya's  sac- 
rifice. As  we  expected,  she  is  given  her  liberty  on 
condition  that  she  restore  to  consciousness  the  gov- 
ernor's daughter,  a  performance  that  causes  the 
mob,  already  incensed  by  fanatical  monks,  to  de- 
mand her  death  immediately  after  receiving  the  lib- 
erty which  she  deserves.  Don  Enrique  nobly 
chooses  death  with  her. 


THE  SORCERESS  21 

The  conclusion  of  the  action  shows  Sardou's 
wonderful  technique  at  its  best.  '^I'he  sequence  of 
events  is  natural  and  the  transition  from  situation 
to  situation  is  motivated  so  realistically  that  the 
threads  of  the  structure  cannot  be  detected.  Wide 
passages  cross  and  recross  until  they  become  in- 
tricately involved  in  mazes  which  ultimately  lead 
to  the  foot  of  an  unscalable  blind-arcade.  Then 
suddenly  there  come  from  an  unexpected  place  a 
glimmer  of  light,  a  swift  opening  of  doors,  and  all  is 
seen  at  a  flash.  This  is  not  ordinary  stagecraft — it 
is  the  necromancy  of  stagecraft! 

The  translator  has  endea\ored  to  follow  as  closely 
as  possible  La  Sorciere  as  Sardou  wrote  it,  remem- 
bering that  Brow  ning  said  in  the  introduction  to  his 
translation  of  the  Agememnon  of  i^schylus:  "I 
should  require  him  [the  translator]  to  be  literal  at 
every  cost  save  that  of  absolute  violence  of  our 
language." 

Charles  A.  Weissert. 


Inquisitors. 


CHARACTERS. 

Cardinal   Ximenes,   Archbishop   of   Toledo   and 

Grand  Inquisitor. 
Don  Enrique  de  Palacios. 
Lopez  de  Padilla,  Governor  of  Toledo. 
Cardenos,  an  agent  of  the  Holy-Office. 
Cleofas,  physician  of  the  Holy-Office. 
Oliveira,  surgeon  of  the  Holy-Office. 
Ramiro,  esquire  of  Palacios. 
Fray  Eugenio  Calabazas 
Fray  Teofilo  Ibarra 
Fray  Miguel  Molina 
Fray  Hernando  Albornos 
Farez,  a  Moorish  muleteer. 

D'Aguilar,  notary,  and  recorder  of  the  Tribunal. 
TORILLO,  an  executioner. 
Don  Antonio 
Rioubos 
Velasco 
Cristobol 
A  Goatherd. 
Gil  Andres,  Guard. 

GiNES. 

A  Friar. 
First  Peasant. 
Second  Peasant. 
ZoRAYA,  a  Moorish  woman. 
Afrida,  an  aged  peasant  woman. 
Manuela,  a  young  peasant  woman. 
Fatoum,  a  converted  Moorish  woman  and  govern- 
ess of  Joana. 
AlSHA,  one  of  Zoraya's  servants. 


Gentlemen. 


JOANA,  daughter  of  Padilla. 

Zaguir,  a  young  boy  in  Zorayas  service. 

Dona  Rufina. 

Dona  Syrena. 

Dona  Serafina. 

Dona  Fabia. 

A  Peasant  Woman. 

Peasant  men  and  women,  archers,  people  of  all 
classes,  gaolers,  monks,  etc. 

The  action  takes  place  in  Toledo  in  1507. 


THE  SORCERESS 

•was  presented 

for  the  first  time  in  the  The&tre  Sarah-Bernhardi,  in  Paris, 

on  December  15,  iqoj 


THE  SORCERESS 


ACT  ONE 

ScENF. — On  the  heights  overlooking  the  left 
bank  of  the  River  Tagus.  In  the  foreground  is  a 
road.  Flinty  rocks,  plants  and  shrubs  rise  from  right 
to  left  towards  higher  rocks  above  which  they  dis- 
appear in  a  gap.  From  the  gap  to  the  foreground 
a  stony  pathway  descends  in  a  curve.  At  the  foot 
of  the  scene,  below,  is  the  Tagus  lying  deep  between 
its  banks,  and  the  Bridge  of  San  Martino.  On  the 
heights  beyond  are  the  city,  the  Mirador  and  the 
cathedral  of  San  Juan  del  Rey  in  construction.  The 
night  is  clear  and  starry.  A  crescent-shaped  moon 
gradually  disappears  to  the  right  behind  the  rocks 
near  the  end  of  the  act. 

Scene  One 

ramiro,  arias,  farez,  peasant  men  and  women, 
three  archers 

Arias  and  the  Archers  are  clutching  and 
dragging  toivards  the  right  peasant  men  and 
women,  whom  they  have  come  to  arrest.  All 
of  the  prisoners  are  loudly  protesting,  except 
Farez,  who  is  silent  all  the  time. 

25 


26  THE  SORCERESS 

Ramiro.  Go,  march  on,  there!  {To  the  arch- 
ers) Arrest  those  laggards  and  keep  them  for  me! 
{The  peasants  protest)  Silence,  there!  You  will 
explain  to  the  governor  in  Toledo. 

The  archers  again  begin  to  drive  before  them 
the  prisoners,  who  renew  their  protests  and 
lamentations. 

Enrique.       {In  a  loud  voice  at  the  right  behind 
the  scene)   Hold  on!     Wait!     What  is  that  noise? 
All  stop  and  listen.     Arias  goes  to  the  right  of 
the  declivity  and  looks  down. 

Ramiro.  {To  Arias)  Those  shouts!  Go  and 
see  who  is  uttering  them. 

Arias.     Some  cavaliers  passing  along  the  road. 

Enrique.  {Behind  the  scene)  Do  you  hear  me? 
Who  is  there? 

Arias.  {To  Ramiro)  It  is  our  commander, 
Don  Enrique  Palacios,  who  is  returning  home  from 
the  chase. 

Ramiro.  {Running  to  the  right)  He  arrives 
opportunely.  {Addressing  respectfully,  hat  in  hand, 
Enrique  behind  the  scene.)  My  lord,  it  is  I,  your 
esquire,  Ramiro. 

Enrique.  {Behind  the  scene)  What  are  you 
doing  there? 

Ramiro.  Making  arrests,  my  lord.  And,  may 
I  venture  to  pray  Your  Honor  to  dismount  and 
climb  up  this  rough  path?  We  have  warrants 
which  are  very  important. 

Enrique.  {Outside)  Very  good! — I  will 
come.     {Murmurs  of  satisfaction  from  the  captives.) 

Ramiro.  Here  is  our  general,  Don  Enrique  Pa- 
lacios, commander  of  the  archers  and  cross-bowmen 


ACT  ONE  27 

of  the  city.     He  will  examine  you  on  the  spot. 

The  Peasants.  {Together,  each  saying  a 
phrase)  Good! — Good! — He  is  a  good  man! — He 
will  listen  to  us  and  set  us  at  liberty! 

Ramiro.  {He  goes  to  meet  Enrique  at  right) 
Up  this  side,  my  lord,  if  you  please ! 

Scene  Two 

THOSE    IN    the    preceding    SCENE,    ENRIQUE,    TWO 
VALETS   OF  THE    HUNT 

Enrique.  {Looking  at  the  captives)  Oh,  ho! 
This  is  a  fine  catch  with  one  stroke  of  the  hand ! 

Ramiro.  I  was  going  to  conduct  these  people  to 
Toledo  to  be  examined.  Your  Honor  may  spare 
me  the  pain. 

The  Peasants.  {All  speaking  at  the  same  time) 
Mercy,  Excellency! — Pity! — Pity! — We  are  inno- 
cent!— We  did  not  do  it! 

Ramiro.  {Exasperated)  Peace!  Keep  quiet, 
there,  brawlers !  Do  not  bewilder  his  lordship  with 
your  croakings! 

Enrique.  Be  considerate,  Ramiro.  They  have 
the  right  to  speak  in  their  own  defence.  {He  is  as- 
sisted in  stepping  upon  a  piece  of  rock  at  the  right 
of  the  scene.  He  seats  himself  on  a  boulder  after 
giving  his  cross-bow  to  Arias.)  What  has  caused 
this  disturbance? 

Ramiro.  Your  lordship  has  not  forgotten  a 
young  Moorish  armourer  employed  on  his  estate, 
named  Kalem? 

Enrique.     Kalem?     Yes!  a  clever  artisan  and 


28  THE  SORCERESS 

also  a  handsome  lad,  who  worked  for  me. 

Ramiro,.  Unfortunately  one  of  those  black,  ob- 
stinate rebels,  who  will  not  admit  since  the  con- 
quest of  Granada  by  our  glorious  sire  {he  uncovers 
his  head  and  bows)  that  the  dominion  of  the  Moors 
and  the  cult  of  their  great  devil  Mohammed  have 
ended  in  Spain. 

Enrique.  Yes.  Whenever  I  urged  Kalem  to 
become  converted  he  always  refused. 

Ramiro.  He  went  from  bad  to  worse — defying 
a  royal  edict,  which  forbids  all  intimacy  between  an 
unconverted  Moor  and  a  Christian,  he  betrayed  the 
daughter  of  a  neighbor,  a  good  Catholic.  For  that 
offence  the  two  culprits,  in  conformance  with  the 
law,  have  been  punished  during  your  lordship's  ab- 
sence :  the  girl  thrown  into  solitude  for  life  in  the 
convent  of  Mercy! — and  Kalem,  stoned  to  death! 

Enrique.    Ah!  the  poor  boy! 

Ramiro.  Yesterday  at  sunset,  up  there  at  the 
foot  of  an  elm! — After  which  I  left  the  body  fas- 
tened to  the  tree-trunk,  according  to  custom,  to 
serve  as  a  warning  to  these  accursed  heathen.  But, 
no !    They  are  enraged  !    The  body  has  disappeared  1 

Enrique.    When  was  it  removed? 

Ramiro.    Last  night. 

Enrique.    By  whom? 

Ramiro.  I  do  not  know.  The  news  was  slow  in 
coming  and  I  was  ordered  to  go  out  during  the  night 
and  surprise  the  residents  of  this  vicinity  in  their 
beds  and  bring  them  to  an  inquest. 

Enrique.     And  the  result? 

Arias.     Nothing! — They  have  nothing  to  say! 

The    Peasants.      {All   to ff ether)      Wc   know 


ACT  ONE  29 

nothing,  your  lordship,  nothing!  So  truly  as  there 
is  a  God,  we  are  innocent.  (Arias  hushes  them 
with  a  gesture.) 

Enrique.  Is  there  among  them  a  relative  or 
friend  of  Kalem? 

All.     Not  one,  your  lordship. 

A  Peasant.     None,  my  lord! 

Enrique.  No  one  who  would  have  a  reason 
for  stealing  his  body? 

All.  {All  at  the  same  time)  Not  one,  my 
lord! — Far  from  here! — A  dog  of  a  Mussulman! — 
We  are  good  Christians! 

A  Woman.  We  should  have  stoned  him  to  death 
a  second  time!     (They  hear  voices  outside,  at  left.) 

Ramiro.     Keep  quiet,  there! — Listen! 

Arias.  (Looking)  Here  is  something  more  to 
please  us. 

Scene  Three 

the  same,  the  goatherd,  an  archer.     they 
enter  at  left 

An  Archer.  {Dragging  the  goatherd)  Go  in! 
you  beggar! 

The  Goatherd.    (Obeying)  Lord !  have  mercy ! 

The  Archer.  (To  Arias,  out  of  breath)  He 
attempted  to  flee,  the  fool!  He  ran  faster  than  his 
goats. 

Enrique.     Is  he  a  goatherd? 

The  Archer.     So  he  says. 

Ramiro.  (  Taking  the  goatherd  by  the  collar  and 
compelling  him  to  fall  upon  his  knees  before  En- 


30  THE  SORCERESS 

RIQue)  Answer,  viUain,  Don  Enrique  Palacios! 

Enrique.     It  is  you,  then,  who  stole  the  body? 

The  Goatherd.  Me!  my  Sweet  Deliverer! — 
touch  a  corpse! 

Enrique.    Then  why  did  you  run? 

The  Goatherd.  {Lowering  his  voice)  For 
not  speaking — and  for  fear  she  would  revenge  her- 
self upon  me  for  exposing  her! 

Enrique.     And  who — is  she? 

The  Goatherd.  {Looking  nervously  about) 
She  who  took  the  body. 

Enrique.     A  woman? 

The  Goatherd.  {Half  aloud)  The  Moorish 
woman ! 

The  Others.  {Seconding  him)  The  Sorcer- 
ess ! — Yes ! — Yes ! — It  was  she ! — It  was  she ! 

Enrique.     The  Sorceress? 

The  Goatherd.  Certainly,  my  lord.  I  have 
often  seen  her  at  night  wandering  on  the  heights 
and  making  conjurations  to  the  moon,  so  I  was  not 
surprised  to  see  her  up  there  at  daybreak  this  morn- 
ing making  curious  gestures,  in  this  way — I  hurried 
my  flock  to  avoid  her — when  two  nigger  devils  ap- 
proached her  along  that  path !  I  was  seized  with  a 
foolish  fancy  to  know  what  these  three  were  charm- 
ing, and  I  clambered  and  crawled  over  the  rocks 
toward  them.  But  she  pricked  up  her  ears,  the 
magician,  and  scrutinized  the  slope  where  I  was 
lying  with  such  a  terrible  gaze  that  I  rolled  down 
and  scampered  away,  saying  to  myself:  "I  hope  that 
her  eyes  have  not  changed  me  into  a  brown  owl, 
or  into  a  bad  beast!" 

Enrique.     Then  she  is  the  guilty  one? 


ACT  ONE  31 

The  Peasants.  {Eagerly)  It  is  she,  your  lord- 
ship; it  is  the  Sorceress,  without  a  doubt. 

Enrique.  And  who  among  you  believe  she  is 
a  sorceress  ? 

The  Peasants.     Oh,  all! 

First  Man.     It  is  believed  everywhere. 

A  Woman.  She  has  caused  enough  misfortune 
with  her  deviltries! 

Second  Man.  It  has  been  proved  that  words 
from  her  will  give  rot  to  the  sheep. 

A  Peasant.  And  sickness  to  men.  {Murmurs 
of  approbation.) 

The  Woman.  Listen  to  the  testimony  of  the 
wife  of  Zuniga,  a  wet-nurse,  whose  milk  supply  she 
caused  to  go  dry. 

First  Man.  And  to  Jose  Barilla  on  whose  barn 
she  caused  lightning  to  descend. 

The  Woman.     Oh!  the  wicked  she-goat! 

Another  Woman.  She  is  the  plague  of  this 
community! 

Second  Man.  Arrest  her,  my  lord! — It  is  she 
who  stole  the  body! 

The  Goatherd.  To  make  magic  powders  of 
the  bones! 

All.     Yes!    Yes! 

The  Goatherd.  {To  Farez,  wJio  shrugs  his 
shoulders)  It  is  well  for  you  to  shrug  your  shoul- 
ders, you! 

Farez.     {Coldly)      IVIe? 

The  Goatherd.  Yes.  You  who  act  so  cun- 
ningly. 

The  Woman.     Yes.    He  laughs  at  all  we  say. 

Farez.    At  all  of  your  stupidities!    {All  protest) 


32  THE  SORCERESS 

Enrique.  Come  forward.  Pay  no  attention  to 
them.     What  is  your  name? 

Farez.     Farez. 

Enrique.     A  Moor? 

The  Goatherd.      {Maliciously)  But  converted. 

Enrique.     What  is  your  trade? 

Farez.     Muleteer. 

Enrique.  Then,  according  to  your  opinion,  these 
people  are  wrong? 

Farez.  This  is  all  idle  talk,  my  lord — the  rav- 
ings of  old  women.  {Cries  from  the  peasants,  whom 
Ram  IRQ  silences.) 

Enrique.     Do  you  know  this  Moorish  woman? 

Farez.     Zoraya? 

Enrique.     Is  her  name  Zoraya? 

Farez.  Yes,  my  lord;  that  is  to  say,  in  the  Ara- 
bic tongue,  "The  Star  of  the  Morning."  I  have 
long  known  her.  I  was  in  Granada  before  the  con- 
quest, employed  as  a  servant  by  her  father,  Abou- 
Abassa,  a  scholar  and  physician  of  the  last  King 
Boabdil. 

Enrique.  Maiden,  woman  or  widow — this  Zo- 
raya ? 

Farez.  Widow,  my  lord! — Sometime  before  tlie 
siege  she  was  married  to  a  very  valiant  Moor,  who 
was  killed  in  a  sortie. 

Enrique.  Being  now  a  Granadan,  does  she  re- 
side in  Toledo? 

Farez.  After  the  capture  of  Toledo,  the  wise 
Bishop  Talavera,  Governor  of  our  city,  took  a, 
strong  fancy  to  Abou-Abassa  because  of  his  great 
knowledge  and  made  him  come  here  to  reside.  The 
daughter,  of  course,  lived  with  him.     The  mother 


ACT  OxNE  33 

is  no  longer  of  this  earth. 

Enrique.     Does  she  reside  in  Toledo? 

Farez.  No,  my  lord;  but  near  here  on  this 
mountain-slope  in  a  house  built  by  her  father,  who 
died  in  the  past  year.  She  lives  there  alone  with 
her  old  servants  and  her  few  surviving  friends.  Her 
door  is  always  open  to  those  of  her  race  and  her 
religion  who  appeal  to  her  in  need  or  in  sickness. 

Enrique.     Ah!     She  likewise  practises  healing? 

Farez.  Free  of  charge!  Her  father  left  her 
great  wealth  and  the  knowledge  of  his  art.  Those 
of  her  own  race  are  not  the  only  ones  who  have 
sought  her  aid.  {Addressing  the  peasants)  More 
than  one  Christian  who  has  secretly  begged  gold  and 
medicines  from  her  now  shows  his  ingratitude  by 
accusing  her  of  causing  hail  to  fall  upon  the  fields. 
{The  peasants  protest.) 

Enrique.  {Silencing  them)  That  is  enough! 
{To  Ramiro)  Keep  the  muleteer.  Release  the 
others.      {Exclamations  of  joy.) 

The  Peasants.  Ah,  thanks!  your  lordship! 
God  will  reward  you!     Long  live  His  Excellency! 

Arias.  {Pushing  them  along)  Go!  Go!  Dis- 
perse without  noise!  {They  leave  from  both  sides 
of  the  scene.) 

Scene  Four 

ENRIQUE,   ramiro,  ARIAS,   FAREZ,   LATER  ZORAYA 

Enrique.  {To  Farez,  rising)  You  say  that 
she  resides  near  here? 

Farez.      {Pointing  to   the  left,  beloiv)    On   this 


34  THE  SORCERESS 

hillside — a  white  house,  half  way  up  the  slope,  with 
beautiful  gardens  and  a  terrace  mirrored  in  the  wa- 
ters of  the  Tagus. 

Enrique.  You  may  conduct  me  there.  ( To  the 
archers  and  valets)   Go!      {They  go   out.) 

Farez.  If  Your  Grace  will  follow  me — But 
she  is  not  far — There  she  is ! 

Enrique.     The  Moorish  woman? 
Farez.     It  is  she  herself — I  see  her  coming  up 
the  slope. 

Enrique.  {To  Farez)  You  may  return 
home.  (To  Ramiro  and  Arias)  You,  here,  step 
to  one  side  and  keep  quiet.  And  observe  her  practi- 
cing her  black  art. 

Farez  disappears  at  right,  Enrique  and  Arias 
going  to  the  left,  where,  screened  by  rocks 
and  bushes  from  Zoraya's  vieiv,  they  ivatch 
her.  Zoraya  appears  near  the  gap,  coming 
sloivly  up  the  path  into  the  clear  moonlight 
as  she  reaches  the  summit.  She  carries  a  sil- 
ver sickle  in  her  hand;  on  her  arm  a  sheaf 
of  luild  flowers.  She  descends  the  pathicay 
slowly,  gathering  floivers  as  she  passes. 
Enrique.  {To  Ramiro  behind  him)  That  is 
a  strange  task! 

Arias.  {Behind  Enrique  and  Ramiro,  rising  to 
see)   See,  my  lord,  in  her  hand? 

Enrique.      {In  a  loiu  voice)  That  silver  sickle? 
Arias.     Which  shines  like  the  crescent  moon. 
Ramiro.    The  crescent  of  Mohammed — the  moon 
is  a  Saracen  and  a  sorceress! 

Enrique.  Speak  lower! — What  curious  harvest 
brings  her  into  the  midst  of  these  rocks? 


ACT  ONE  35 

Ramiro.  She  is  gathering  bad  herbs  for  her 
philters  and  poisons. 

Enrique.  A  beautiful  creature,  truly.  See  the 
grace  and  suppleness  in  her  movements. 

Ramiro.     One  might  say  as  much  of  a  serpent. 

Enrique.     For  shame! 

Ramiro.  Your  Honor  should  be  careful  or  this 
she-devil  may  throw  over  him  the  same  charm  that 
Circe  of  yore  threw  over  Ulysses. 

Enrique.  {Joking)  Am  I  like  the  goatherd 
to  believe  that  she  will  change  me  into  a  beast? 

Ramiro.  No!  But  through  love — it  is  the 
same! 

Enrique.  (Quickly)  Enough! — I  must  speak 
to  her!  {He  advances  into  the  full  moonlight.) 
Zoraya ! 

Zoraya.     Who  is  calling  me? 

Enrique.  I,  Enrique  Palacios,  commander  of 
the  archers  of  the  city. 

Zoraya.     What  does  his  lordship  desire? 

Enrique.  The  truth! — It  was  you  and  two  ac- 
complices who  took  down  and  carried  away  Kalem's 
body? 

Zoraya.     It  was,  my  lord. 

Enrique.  For  use  in  some  conjurations — for 
you  are  a  magician,  it  appears? 

Zoraya.      {Quickly)  Me? 

Enrique.     So  it  is  said. 

Zoraya.  By  those  who  hate  me  because  I  am 
Moorish  and  faithful  to  the  law  of  .the  Koran. 
{Murmurs  from  Arias  and  Ramiro.) 

Enrique.  Peace,  there.  {To  Zoraya)  So  you 
have  not  come  here  to  work  some  magic  in  the  moon- 


36  THE  SORCERESS 

light,  or  to  meet  an  accomplice  in  your  sorceries? 

ZoRAYA.  I  come  to  gather  herbs  in  the  night  and 
to  be  alone;  and  in  moonlight  because  it  is  easier  to 
recognize  them. 

Enrique.     What  do  you  do  with  them? 

ZoRAYA.  From  the  hearts  of  these  flowers,  my 
lord,  I  extract  essences  and  perfumes  for  myself  and 
ointments,  elixirs  and  powders  for  curing  diseases. 

Enrique.  Are  these  remedies,  these  poisonous 
herbs  ? 

ZoRAYA.  Yes ;  wholesome  and  healing.  The  ver- 
milion fruit  of  the  black  henbane  and  that  of  the 
deadly  nightshade  or  belladonna  cure  delirium  and 
insanity.  They  also  put  sufferers  to  sleep.  Also  these 
others.  They  are  like  all  things  of  the  world,  in  love 
the  same:  according  to  the  case  and  the  dose,  cure 
or  kill. 

Enrique.  Oh!  by  that  I  understand  that  you 
deal  in  love  philters, 

Zoraya.  What  need  of  them,  my  dear  lord? — 
Love  is  born  of  a  smile,  rather  than  of  a  philter. 

Enrique.  {Jesting)  Do  you  often  make  that 
test? 

Zoraya.     Never ! 

Enrique.  {The  same)  Oh! — so  chaste — in 
spite  of  those  eyes,  there? 

Zoraya.  Through  pride !  It  is  not  necessary  to 
search  for  dignity  in  mc! 

Enrique.  Bless  me!  the  beautiful!  You  are 
very  difficult. — But  let  that  pass! — If  it  were  not 
for  some  evil  work  why  did  you  steal  Kalem's  body  ? 

Zoraya.  The  human  flesh  is  not  made  to  feed 
ravens  and  wolves. 


ACT  ONE  37 

Enrique.     You  have  buried  it? 

ZoRAYA.  In  a  crevice  in  the  rocks — you  may  as- 
sure yourself. 

Enrique.     A  criminal. 

ZoRAYA.  To  me  he  was  not  a  criminal,  whose 
only  crime  was  to  have  loved. 

Enrique.  A  Christian! — in  spite  of  the  law 
which  forbids  love  between  j'^our  race  and  mine. 

ZoRAYA.  It  is  love,  however,  which  will  recon- 
cile them  in  the  long  run. 

Enrique.  Ah,  well!  to  justify  that  you  shall 
explain  to  His  Eminence  the  Cardinal  Ximenes. 

ZoRAYA.      {Frightened)  The  Inquisitor! 

Enrique.     It  is  to  him  that  I  must  take  you. 

ZoRAYA.  {The  same)  Oh,  no,  my  dear  lord! 
No!    You  must  not  say  that. 

Enrique.     Why  not? 

ZoRAYA.  You  know  that  tlie  high  priest  detests 
us  and  persecutes  us.  You  do  not  want  to  injure 
me;  for  you  are  good 

Enrique.     How  do  you  know  that? 

ZoRAYA.     Oh,   I   see  it! 

Enrique.  In  truth,  what  indications  do  jou 
see? 

ZoRAYA.     Those  which  my  fatiier  revealed  to  me. 

Enrique.     Of  the  nature  of  men? 

ZoRAYA.     And  their  destinies. 

Enrique.     Do  you  read  this  in  the  stars? 

ZoRAYA.  I\Iy  knowledge  does  not  come  from 
them. — But  through  the  crystal,  the  mirror,  the  sil- 
ver disc  and  the  lines  of  the  hands. 

Enrique.  Ah!  By  God! — I  am  curious  to  see 
what  you  read  in  mine ! — Come  here ! 


38  THE  SORCERESS 

{He  seats  himself  on  a  large  stone  at  the  foot  of 
the  path.  Zoraya  goes  down  to  him  after  putting 
down  her  bouquet  of  flowers  and  plants.) 

Ramiro.  {Low  to  Arias  during  this  part  of  the 
scene)  Ah!  the  bewitcher! — See  how  she  takes  him 
little  by  little  into  her  coils  in  order  to  escape  pun- 
ishment. 

Zoraya.  {Stands  near  Enrique,  who  holds  out 
his  left  hand  for  her  inspection)  You  are  loyal,  my 
lord,  and  brave — but  your  will  is  feeble  and  un- 
steady. 

Enrique.     Where  do  you  see  that? 

Zoraya.  In  the  shape  of  your  head  and  the  first 
phalange  of  your  thumb,  which  is  short — I  see  here 
that  you  are  subject  to  sudden  and  terrible  bursts 
of  anger. 

Enrique.  {Smiling)  It  is  true!  {To  Ramiro, 
without  turning  round)    Is  it  not,  Ramiro? 

Ramiro.  {Grumbling  in  a  loiv  voice)  Rain  of 
Heaven!  Why  has  he  not  strangled  this  accursed 
woman  ? 

Zoraya.  {In  the  same  vein)  The  life-line,  beau- 
tiful at  the  beginning — stops  short — danger  of  death 
— struck  as  with  lightning! 

Enrique.  {Gaily)  A  soldier's  death— so  much 
the  better!  Seat  yourself;  you  will  be  more  at  ease. 
{He  makes  room  for  her  to  sit  on  the  stone.) 

Zoraya.  {Seating  herself,  continues  in  the  same 
vein)  These  wrinkles  which  cross  at  the  base  of  the 
thumb  show  an  inclination  very — very  amorous! 

Enrique.     Oh!  as  to  that — Yes! 

Zoraya.  This  deep  red  line,  which  connects  the 
thumb  with  the  life-line — a  passion!     Oh! — that! 


ACT  ONE  39 

Like  she  who  possesses  you ! — It  will  end  only  with 
your  life! 

Enrique.     Then  it  is  to  be  returned? 

ZoRAYA.  I  do  not  know — why  should  one  be 
troubled  about  that? 

JVhile  looking  at  his  hand,  Zoraya  leans  more 
and  more  against  Enrique,  ivho  is  intoxi- 
cated by  the  nearness  of  their  persons,  by  the 
Arabian  perfume  on  her  hair  and  by  the 
warmth  of  her  hand. 

Enrique.  (Rising  in  order  to  lean  over  Zo- 
RAYa's  neck)  What  flower  have  you  robbed  of  this 
perfume? 

Zoraya.     The  golden  cassie! 

Enrique.  It  is  exquisite! — You  who  read  the 
future  so  well  in  the  hand — {She  attempts  to  luith- 
draw  her  hand)  No!  No!  Do  not  take  away  your- 
hand ! — do  you  also  know  how  to  read  the  present 
in  my  thoughts?  {He  turns  Zoraya's  face  gently 
towards  his  ozcn.) 

Zoraya.  {Returning  his  ardent  gaze)  Yes!  {In 
a  low  voice)  You  think  that  I  am  beautiful  and  de- 
sirable! 

Enrique.      {Quickly)  Yes. 

Zoraya.  ( The  same)  But  I  am  a  Saracen,  a  pa- 
gan, an  outcast !  I  am  one  whom  you  have  not  the 
right  to  love ! 

Enrique.     Therefore,  you  are  more  desirable! 

Zoraya.  {The  same)  Don't  you  find  the  royal 
edict  which  would  punish  us  very  severe:  I  thrown 
into  the  oubliette — you  sent  to  the  galleys  or  to  the 
stake  ? 

Enrique.     Too  severe — certainly! 


40  THE  SORCERESS 

ZoRAYA.  Wasn't  Kalem  excusable  for  risking 
such  a  cruel  fate? 

Enrique.     Yes. 

ZoRAYA.  And  doesn't  she,  this  unfortunate  girl 
who  had  not  the  strength  to  resist  the  madness  of  a 
similar  love,  deserve  pity? 

Enrique.     The  Christian  girl! 

ZoRAYA.  Ah !  I  understand  why  she  forgot  that 
she  was  a  Spaniard  and  a  Catholic  and  became  only 
a  woman,  simply  a  woman ! — O  Nature !  the  victory 
was  thine! — I  envy  her  for  having  been  given  a 
body  to  be  loved  and  adored  without  fear  of  the  tor- 
ture which  menaces  this  world — and  the  damnation 
promised  in  the  next! 

Enrique.     You  could  be  so  brave  as  she? 

ZoRAYA.  (Risitiff)  Ah!  certainly,  yes! — who 
could  be  braver  than  she! — Can  your  race  produce  a 
Kalem?  If  so,  he  is  worthy  of  me!  I  promise  hours 
of  beauty  and  rapture  to  him  who  does  not  fear 
the  executioner  and  who  will  brave  the  flames  at 
the  stake  for  that  which  the  sun  of  Africa  has  set 
burning  in  my  veins! 

Enrique.  (Taking  her  in  his  amis)  I  shall  be 
that  man!  {She  pushes  him  gently  aivay.  He  re- 
covers his  presence  of  fjiind  and  quickly  withdraws) 
Ah !  demon !  You  have  intoxicated  me !  Go  away 
from  me ! 

ZoRAYA.    Adieu,  then,  my  dear  lord. 

Enrique.  (Turning)  Adieu! — Yes,  adieu! — It 
is  better  so!  (To  Ramiro  and  Arias)  Let  that 
woman  go!  (Picking  up  her  flowers,  she  slowly 
rcascends  the  slope)  What  creature  is  that! — her 
hand  burned  in  mine  and  her  gaze  set  my  brain 


ACT  ONE  41 

awhirl ! 

Ramiro.  I  have  a  remedy,  my  lord!  Say  a  pa- 
ter quickly  and  repeat  an  ave  twice  to  break  the 
charm ! 

Arias.  {Preparing  to  shoot  an  arrow  from  his 
cross-bow  at  Zoraya)  I  have  a  better  one! — Kill 
the  beast,  kill 

Enrique.  {Seizing  his  arm)  Ah!  brute! — Stop! 
{He  passes  the  cross-bow  to  Ramiro,  then  crosses 
the  scene  to  the  right  to  Zoraya,  who  has  returned 
on  hearing  the  disturbance)  Go!  Go!  He  will  not 
make  another  attempt.  But,  I  want  never  again 
to  find  you  in  my  path ! 

Zoraya.  {Standing  in  the  middle  of  the  path) 
"No  one,"  says  an  Arabic  proverb, — "no  one  in 
the  world  today  has  seen  the  dawn  of  tomorrow." 

Enrique.  {To  his  men,  who  have  rejoined  him 
at  right,  while  he  still  watches  Zoraya)  Let  us 
hasten  away  from  here! 

(  Curtain ) 


ACT  TWO 

Scene — A  Moorish  chamber  with  three  arches. 
Beyond  is  seen  a  garden  similar  to  that  of  the  Gener- 
alife  of  Granada,  ivith  a  fountain  and  a  narrow  ca- 
nal bordered  with  trimmed  yew  trees  and  pots  of 
red  sandstone  containing  flowers.  The  arch  at  the 
right  gives  access  to  a  terrace  beyond  which  Toledo 
rises  in  the  distance  beneath  a  burning  sunlight.  At 
the  right  of  the  arcade  is  the  entrance  to  Zoraya's 
sleeping  chamber.  On  the  same  side  is  a  small  door. 
In  contrast  tvith  the  spreading  blue  of  the  heavens 
and  the  great  heat  on  the  fields  and  garden,  the  room 
conveys  an  impression  of  coolness.  On  the  floor  are 
tiles  laid  in  mosaic.  In  the  center  of  the  scene  is 
an  elaborate  fountain  basin  surrounded  with  cush- 
ions. On  the  ceiling  are  beams  and  panels  of  cedar. 
To  a  height  of  about  six  feet,  an  ivory-colored  bor- 
der surmounted  u'ith  a  blue  earthenirare  moulding 
extends  about  the  room.  The  three  arches  are  closed 
at  will  with  heavy  and  rich  portieres.  To  the  right 
is  a  little  low  table  inlaid  with  ivory  and  nacre. 
There  are  several  cushions  on  it.  Against  the  wall 
stands  an  Arabian  coffer.  Here  and  there  are  large 
Moresque  vqses  containing  palms  and  bouquets  of 
flowers.  It  is  morning.  There  are  sounds  of  dis- 
tant bellsj  which  shortly  cease  to  ring. 

42 


ACT  TWO  43 

Scene  One 

aisha,  zaguir 

AlSllA  draws  open  the  curtains  in  the  right 
arch.  Zaguir  appears  at  the  foot  in  the 
garden  and  cautiously  calls  AlSHA. 

Zaguir.     My  aunt! — Mj- aunt! 

AlSHA.  {In  an  undertone,  turning)  What? — 
Who? — Who  is  calling  me  out  there? 

Zaguir.  {In  the  same  voice)  I  have  something 
important  to  tell  you  while  the  mistress  is  still  here. 

AiSHA.     Something  serious? 

Zaguir.     Yes. 

AiSHA.  Then  come  in  and  speak  quickly.  (Za- 
guir goes  tou-ard  her)  What  is  it? 

Zaguir.  Here! — last  night  at  sunset,  I  saw  sit- 
ting and  conversing  near  the  path  which  leads  down 
toward  the  bridge  of  San  Martino,  perhaps  a  hun- 
dred paces  or  more  from  this  house,  two  men  who 
were  not  mere  passers-by,  or  residents  of  this  neigh- 
borhood. When  the  sun  rose  this  morning  they  were 
still  there,  lying  behind  some  fig  trees,  as  if  they  had 
passed  the  night  in  watching. 

AiSHA.  {Disturbed)  The  same! — you  are  posi- 
tive? 

Zaguir.  Positive! — They  are  still  there.  You 
can  see  them.  ( They  cautiously  go  to  the  terrace 
at  right)    Stop!  they  are  standing  at  present. 

AiSHA.     There  are  three  of  them  ! 

Zaguir.  Yes ! — the  one  with  the  grizzled  beard 
was  not  there.    He  has  just  arrived. 


44  THE  SORCERESS 

AiSHA.  Be  careful  in  returning.  (She  returns 
to  the  center  of  the  scene.) 

Zaguir.  ( The  same)  As  they  have  been  there 
since  last  evening,  it  must  be  that  they  are  lying  in 
wait  for  some  one. 

AiSHA.     And  whom  ? 

Zaguir.  {With  embarrassment)  Perhaps  those 
who  come  at  night  and  return  at  dawn. 

AlSHA.      {Severely)   What  did  you  say? 

Zaguir.  {Quickly)  Don't  be  angry — I  am  only 
warning  you !  Otherwise,  I  should  have  said  noth- 
ing. 

AiSHA.     And  what  do  you  know,  naughty  boy? 

Zaguir.  Only  the  worst  of  things.  For  exam- 
ple, that  he  comes  down  the  slope  and  enters  through 
the  orchard  gate,  which  has  a  key;  that  he  steals 
along  in  the  shadow  of  the  arcades  until  he  reaches 
here  and  that  he  goes  away  in  a  similar  manner — 
on  foot  as  he  comes,  without  entrusting  to  us  his 
horse. 

AiSHA.     Above  all  you  have  not  mentioned  this? 

Zaguir.     Indeed  to  no  person! — it  is  serious! 

AiSHA.  He  is  a  Moor,  a  refugee  in  the  Sierra, 
a  rebel  who  comes  secretly  to  obtain  medicine  for 
his  wife  who  is  ill. 

Zaguir.  Poor  woman ! — to  consume  all  the  rem- 
edies which  he  has  obtained  every  night  during  two 
months ! 

AiSHA.     You  presumptuous  boy  ! 

Zaguir,  Do  not  call  me  after  all  kinds  of  beasts, 
auntie  dear!  I  don't  ask  you  who  this  unknown  is; 
he  concerns  me  not.  But  I  know  truly  that  I 
should  be  cut  in  pieces  before  I  would  whisper  a 


ACT  TWO  45 

word.     You  may  tell  your  mistress  that! 

AiSHA.  Allah  protect  me!  I  shall  not  tell  her 
that  you  know. 

Zaguir.  As  you  wish!  But  whisper  to  her  that 
they  are  watching  her  house.  {The  bells  again  be- 
gin to  ring.) 

AiSHA.     And  in  vain  for  two  days. 

Zaguir.  Yes,  fortunately! — He  did  not  come 
last  night,  or  the  night  before. 

AiSHA.  And  Zoraya  is  worried  enough ! — Go, 
thou! — Quickly! — I  hear  her! 

Zaguir  is  going  out  ivhen   Zoraya  appears^ 
parting  the  portieres  at   the  left. 


Scene  Two 
the  same  persons,  zoraya 

Zoraya.  {Without  seeing  Zaguir,  to  Aisha) 
Who  is  here  with  you  ? 

Aisha.  Zaguir,  who  has  no  right  to  be  here! — 
but  he  has  a  good  excuse — since  yesterday  he  has 
seen  men  prowling  round  the  house.  {She  points  to 
the  right.  Zoraya  crosses  the  scene  and  goes  to 
the  window. ) 

Zaguir.  They  have  passed  the  night  under  the 
fig  trees, 

Aisha.  {To  Zoraya)  On  the  hillside — look! 
Ah !    They  are  going  away — do  you  see  them  ? 

Zoraya.  Yes! — They  are  going  down  to  the 
bridge.     (To  Zaguir)  Follow  them! 

Zaguir.     As  far  as  the  city? 


46  THE  SORCERESS 

ZoRAYA.     All  about  the  city — and  see  where  they 
stop. 

Zaguir.     Yes,  mistress! 
ZORAYA.      Go !      Go ! 

Zaguir  leaves,  running. 


Scene  Three 
zoraya,  aisha 

ZoRAYA,  {At  the  ivindow,  constantly  looking 
out)  Why  are  those  bells  ringing  on  this  beautiful 
morning? — Is  there  some  Christian  festival  today? 

AiSHA.     I  know  of  none. 

ZoRAYA.  {Reentering  the  scene)  After  waiting 
for  him  all  night  I  finally  fell  asleep.  They  awak- 
ened me  and  I  heard  your  voice.  I  believed  he  was 
there,  and  I  nearly  betrayed  myself  by  calling  his 
name  in  the  boy's  presence. 

AiSHA.  We  must  continue  hoping  that  Don  En- 
rique will  come  tonight. 

ZoRAYA.  Two  nights  without  seeing  him! — And 
no  word  from  him — what  torture!  And  those  bad 
dreams!      Give   me  the   spotted   cards. 

AlSHA  brings  a  pack  of  cards  which  she  lays 
out  on  the  little  table.  The  sound  of  the 
bells  gradually  dies  out. 

AiSHA.  He  has  probably  been  warned  of  the 
presence  of  those  men. 

ZoRAYA.  Last  night,  yes — But  the  night  before 
— did  Zaguir  see  them  then  ? 

AiSHA.     No. 


ACT  TWO  47 

ZoRAYA.  {Constantly  occupied  in  arranging  the 
cards)  Then  it  was  something  else. 

AiSHA.     Perhaps  some  sudden  duty? 

ZoRAYA.  Doubtful!  He  is  free!  He  has  no 
father,  no  mother,  no  wife,  no  children! 

AisriA.  He  commands  the  archers,  the  blunder- 
buss men  and  the  cross-bowmen  of  the  citj\  He 
may  be  detained  by  the  service. 

ZoRAYA.     For  two  days? 

AiSHA.  He  is  a  member  of  the  Council  of  Cas- 
tile, which  may  have  been  summoned  to  Aranjuez 
where  the  king  is  sojourning. 

ZoRAYA.  Yes,  possibly  that  is  so! — Ah!  if  only 
we  had  some  means  of  secretly  writing  to  each  other ! 

AiSHA.  Allah  protect  us!  That  would  be  a 
quicker  way  of  losing  ourselves! — we  are  threatened 
often  enough,  now! 

ZoRAYA.     Ah!     {She  raises  a  card.) 

AlSHA.     What? 

ZoRAYA.  The  Cavalier  of  the  Sword — now  I  am 
beginning  to  detect  the  cause! 

AiSHA.  You  see! — I  thought  until  this  minute 
that  we  should  not  be  left  long  in  security!  You 
had  decided  to  do  as  the  others  advised  and  flee 
to  the  coast  of  Africa  to  escape  the  persecutions  of 
the  Nazarenes!  Then,  it  was  necessary  to  meet 
this  man!  Ah!  misery  upon  us!  Ever  since  the 
time  when  he  unexpectedly  appeared  while  we  were 
breathing  the  evening  breeze  on  the  hill  and  when 
you  so  foolishly  threw  yourself  into  his  arms,  I  have 
believed  that  I  hear  the  black  wings  of  Azrael,  the 
angel  of  death,  brushing  the  roof  of  our  house! 

ZoRAYA.     "Our  Destiny,"  says  the  Prophet,  "is 


48  THE  SORCERESS 

suspended  from  our  necks" — If  it  is  written  that  I 
shall  die  for  Enrique,  then  I  may  likewise  wish  that 
it  should  be  in  his  arms! 

AiSHA,  Oh !  my  daughter,  you  who  were  so 
chaste  in  your  widowhood,  why  are  you  enamored 
with  this  infidel,  this  enemy  of  the  true  God? 

ZoRAYA.  Do  you  know  how  and  why  I  love 
him?  I  was  at  his  mercy!  A  word,  and  he  could 
have  thrown  me  into  the  dungeons  of  the  Inquisition. 
It  was  good  of  him  to  save  my  honor,  a  price  which 
they  always  extort  from  our  other  women.  I  will 
risk  anything  for  him.  Those  men  were  there  to 
act  as  my  safeguards  during  the  night.  I  shall  wait 
for  an  opportune  time  and  flee  to  Toledo  before 
evening! 

AiSHA,     Rain  of  Heaven ! 

ZoRAYA.  But  what  weakness  is  ours!  He  is 
young,  he  is  generous  in  his  love,  his  gaze  is  tender! 
— when  he  liberated  me,  I  could  dream  no  more  of 
fleeing. 

AiSHA.     Alas! 

ZoRAYA.  {Returning  to  the  cards)  Ah!  "The 
King!" — A  powerful  enemy! 

AiSHA.     You  see!    You  see! 

ZoRAYA.      Sh . 

AiSHA.     What? 

ZoRAYA.     I  believe  I  hear  him. 

AiSHA.     No! 

ZoRAYA.  Besides,  he  would  not  come  before 
night! 

AiSHA.  Ah!  I  hope  he  will  not  come  this  eve- 
ning— and  never  again  ! 

ZoRAYA.     Silence!     You  wretch!     Do  you  want 


ACT  TWO  49 

me  to  die  of  sorrow? 

AiSHA.  That  would  be  better  than  being  buried 
alive  in  an  oubliette  as  poor  Kalem's  accomplice  and 
for  a  crime  similar  to  his! 

ZoRAYA.     I  should  die  first! 

AiSHA.  Allah!  Allah!  listen  to  her — Where  is 
there  a  love  that  has  made  any  one  reasonable!  All 
these  nights  I  have  been  there,  I,  cowering  on  my 
couch  waiting  and  listening  and  trembling  at  the 
least  noise.  And  you  can  be  happy — you — with  such 
a  menace  hanging  over  you  ! — What  folly ! 

ZoRAYA.  {Rising  mid  putting  away  the  cards) 
You  do  not  understand  anything,  poor  Aisha!  To 
love  without  peril  is  beautiful — it  is  the  common 
kind  of  love.  But  the  kind  that  is  outlawed,  ac- 
cursed and  condemned  at  its  beginning — the  love 
that  braves  all  perils,  that  defies  death,  that  brings 
the  bitter-sweet  of  forbidden  kisses  and  maddening 
embraces  during  which  it  is  said,  "This  may  be  the 
last!" — that  is  love! — that  is  love! 

AlSHA.      {Groaniiuj)   Ah! 

ZoRAYA.  Be  silent!  This  time  it  is  his  step. 
{She  runs  to  the  door  at  the  left  and  opens  it)  It  is 
he ! — Ah !  it  is  he ! — It  is  he ! 

Enrique  appears  on  the  threshold  of  the  little 
door. 

ZoRAYA.  Finally — Ah !  God  ! — At  last !  at  last ! 
{To  Aisha  as  she  passes  Enrique  to  fasten  the  lit- 
tle door)  Watch  carefully.  {After  fastening  the 
draperies,  Aisha  govs  into  the  garden.) 


50  THE  SORCERESS 

Scene  Four 
zoraya,  enrique 

ZoRAYA.  (To  Enrique)  Your  heart  beats! — 
You  have  been  running? 

Enrique.     Yes! 

ZoRAYA.     They  have  pursued  you? 

Enrique.      (Removing  his  mantle)  No! 

ZoRAYA.     And  on  the  road,  did  you  see  no  one? 

Enrique.  Not  one  person!  {He  places  on  the 
stool  his  mantle,  his  hat  and  his  sword.)  I  did  not 
come  by  way  of  the  bridge,  but  by  the  path  up  the 
hillside  after  crossing  the  river  in  a  boat. 

Zoraya.  {Seated  on  the  cushions)  In  daylight! 
What  imprudence !  And  instead  of  coming  last 
night  when  I  waited  so  anxiously  for  you! 

Enrique.  I,  too,  have  had  occasion  to  think  of 
that! — When  I  left  you  at  dawn  the  day  before  yes- 
terday I  saw  standing  at  the  end  of  the  bridge  a  man 
whom  I  knew  had  no  ordinary  reason  for  being 
there  at  that  hour.  I  passed  him  quickly,  covering 
myself  closely  with  my  cloak.  He  followed  me,  but 
I  reached  my  residence  after  throwing  him  oiif  my 
trail  in  an  alley. 

Zoraya.     He  followed  you? — You  are  certain? 

Enrique.  Absolutely  certain.  It  was  to  baffle 
him  that  I  forced  myself  to  remain  away  from  you 
last  night  and  the  night  before  and  that  I  crossed 
the  river  in  a  boat,  below  the  Mirador, 

Zoraya.  Yes!  (/?/V/«<7)  Oh!  it  is  clear  now!  It 
is  well  for  you  that  they  watched  only  at  night. 


ACT  TWO  51 

Enrique.     And  why? 

ZoRAYA.  The  men  watched  there  behind  those 
fig  trees.  {He  goes  toward  the  terrace.)  No! — 
they  have  gone  away,  thinking  it  useless  to  watch  for 
you  in  the  daytime. 

Enrique.     How  many? 

ZoRAYA.  Three.  One  of  them  seemed  to  be  the 
chief. 

Enrique.     Did  he  have  a  small,  grizzly  beard? 

ZORAYA.      Yes. 

Enrique.  {Eagerly)  It  was  he  who  spied  upon 
me.  I  believe  I  recognize  him!  {Seats  himself 
at  right  on  the  fountain  basin.)  It  is  Cardenos,  one 
of  my  father's  old  soldiers,  but  now  an  agent  of  the 
Holy  Office  and  a  religious  bigot! 

ZoRAYA.  {At  his  right,  standing)  Then!  he 
has  recognized  you ! 

Enrique.  I  doubt  it.  He  would  hardly  wait 
one  day.  He  knows  only  that  you  are  receiving  some 
unknown  person  in  the  night.  If  I  were  suspected 
they  would  prowl  round  my  house  and  I  have  seen 
nothing  of  them — At  least,  whatever  there  is  in  this, 
we  must  be  on  guard. 

ZoRAYA.     Oh,  yes! 

Enrique.  And  for  the  sake  of  prudence  give  up 
seeing  each  other. 

ZoRAYA.     For  several  days — surely. 

Enrique.     Say — some  weeks. 

ZoRAYA.      {Protesting)   Several  weeks? 

Enrique.  It  is  the  only  way  to  stop  them  from 
spying  upon  us. 

ZoRAYA.  Several  weeks! — without  seeing  each 
other  ? 


52  THE  SORCERESS 

Enrique.  My  Zoraya,  you  must  resign  yourself 
to  it. 

Zoraya.  Resign  myself! — Oh,  resignation  is  easy 
for  you !  Our  love  is  not  the  only  affair  of  your  life ! 
— But  I ! — I  cannot  conquer  my  loneliness  after  you 
depart  with  the  thought  that  you  will  return  when 
the  first  star  flowers  in  the  heavens.  I  shall  no 
more,  during  the  great  heat  of  the  day,  dream  of 
the  night's  divine  joys,  which  live  again  in  thoughts 
of  you,  I  shall  feel  lonely  enough  in  this  house 
during  the  coolness  of  evening  when  alone  I  shall 
hear  the  soft  wind  in  the  branches,  the  songs  of  my 
birds,  the  purling  of  my  streams — then  all  that 
charms  me  at  other  times  will  bring  in  your  absence 
only  sorrow  and  tears! — Those  two  nights  without 
you,  how"  long  they  seemed ! — and  you  speak  of 
weeks! — several  weeks,  3'ou  say.  "Where  is  he? 
What  is  he  doing?  Does  he  think  of  me?  If  he 
should  never  return!"  (Enrique  makes  a  quick 
movement.)  Ah!  perhaps  that  is  what  you  wish  to 
say  and  dare  not  tell  me! 

Enrique.     I! 

Zoraya.  If  you  fear  those  men  ? — If  you  wish  to 
see  me  no  more? 

Enrique.  {Protesting)  You  believe  me  coward- 
ly!— When  I  have  risked  myself  in  plain  day  to  see 
you  for  an  instant ! 

Zoraya.  That  is  true! — But  you  seem  so  preoc- 
cupied, so  troubled — 

Enrique.     Like  yourself — by  this  danger. 

Zoraya.  Yes,  but  I  am  more  tender  than  you — 
While  you — they  say  that  your  heart  is  always  far 
away — far  away  from  me! — Look  at  me! — I  want 


ACT  TWO  53 

you  to  look  at  me! — Quickly! — without  taking  time 
to  invent  a  lie!  {She  turns  Enkiq\je's_  face  toward 
her.)  Your  gaze  seems  to  tell  me  that  your  love 
has  been  stolen  from  me ! 

Enrique.  Ah!  My  charmer!  What  a  long 
time  until  then! — Since  the  hour  when  we  first  met, 
they  have  followed  me  everywhere,  those  eyes,  there 
— they  call  to  me  day  and  night! — Ramiro  had  said 
to  me,  "Take  care,  my  lord,  that  the  magician  does 
not  throw  over  you  some  kind  of  a  love  charm !" 

ZoRAYA.  Ramiro  is  a  silly  fellow.  There  has 
been  neither  a  magician  nor  magic.  "Life,"  said  my 
father,  "is  a  combat,  where,  like  flights  of  arrows, 
contrary  minds  strive  among  themselves  for  a  vic- 
tory, which  finally  rests  with  the  fallen."  I  desired 
ardently  to  be  loved  by  you.  You  did  not  know 
how  to  defend  yourself.  I  have  shot  m.y  arrow  into 
your  heart — in  that  lies  all  of  my  sorcery. 

Enrique.  And  why  did  you  so  fervently  desire 
me  to  love  you? 

Zoraya.  {Passing  Enrique,  to  the  left)  First, 
because  of  cowardice,  my  dear  lord ! — to  extort  from 
you  my  pardon — and  later  on,  if  I  conquered  you,  to 
flee  from  Toledo! 

Enrique.     Ingrate! 

Zoraya.  {Sitting)  It  is  bold  of  me  to  tell  you 
now — and  next — for  bravado,  malice  and  revenge! 

Enrique.     Revenge? 

Zoraya.  Yes,  yes,  revenge!  I  wanted  to  have 
the  pleasure  of  humiliating  in  you  the  Spaniard,  the 
Christian,  the  conqueror  of  my  people,  the  enemy  of 
my  race,  which  you  declare  impure!  I  wanted  to 
make  you  renounce  your   faith  like  the  heroes  of 


54  THE  SORCERESS 

that  book  of  love  (she  points  to  the  book  on  the 
table),  "Celastine,"  which  you  have  given  me  to 
read — like  Calixte,  who  said  to  his  dear  Melibee: 
"I  am  no  more  Christian  or  pagan.  I  am  Melibee! 
I  believe  in  no  one  but  Melibee,  I  adore  no  one  but 
Melibee!"  And,  after  all!— after  all!— I  wanted 
to  be  loved — for  the  sake  of  love!  Leaning  against 
you,  nearly  in  your  arms,  as  I  am  now,  with  your 
cheek  brushing  my  cheek — I  felt  little  by  little  the 
chaste  coldness  of  my  widowhood,  which  Aisha  al- 
ways glorified,  melting  like  snow  in  the  glowing 
warmth  of  our  clasped  hands,  in  the  burning  breath 
from  our  hot  lips — This  fever  of  love  which  I  be- 
lieve will  never  be  cured  has  crept  stealthily  into 
my  blood.  I  am  like  one  intoxicated.  And  when 
you  say  to  me:  "Go  away,  you  are  free!"  I  shall 
take  with  me  in  leaving  the  hope,  the  dear  hope, 
that  you  will  come  to  me  very  soon  on  some  dark 
night  and  demand  a  ransom  for  my  freedom.  Ah ! 
my  adored  conqueror,  you  are  well  avenged!  She 
who  would  rule  is  no  more  than  an  humble  slave 
at  your  feet,  subdued  and  tender  as  a  tamed  gazelle ! 
{Sounds  of  the  distant  bells.  Enrique  starts. 
ZoRAYA  does  not  move.)     What  disturbs  you? 

Enrique.     Those  bells! 

ZoRAYA.  Well,  they  are  ringing.  What  is  that 
to  us? 

Enrique.  It  means  that  they  are  calling  me 
and  that  it  is  time  for  us  to  part. 

ZoRAYA.  {Rising)  So  soon?  What  for?  You 
may  remain  here  until  the  hour  of  the  siesta  when 
the  streets  are  deserted. 

Enrique.     Oh,  no!    That  is  impossible!     {He 


ACT  TWO  55 

rises. ) 

ZoRAYA.     Impossible! 

Enrique.  There  is  to  be  a  great  feast  in  the 
palace  and  a  great  ceremony  in  tlie  cathedral.  All 
of  my  men  are  under  arms  and  I  must  be  at  their 
head.  I  have  scarcely  time  to  return  to  the  city  in 
the  same  way  that  I  came. 

ZoRAYA.     By  boat? 

Enrique.  Yes.  {He  takes  up  his  hat,  mantle 
and  sword.) 

ZoRAYA.  And  if  they  should  watch  for  you  on 
the  other  side  of  the  river? 

Enrique.  Do  not  dream  of  that! — Fear  noth- 
ing! 

ZoRAYA.  Oh!  I  fear  everything  just  now,  those 
men — and  for  you! 

Enrique.     For  me? 

ZoRAYA.  Yes!  Yes!  For  either  of  us,  who 
knows?  Last  night  I  had  a  menacing  dream!  You 
entered  by  that  door!  I  ran  to  you!  You  were 
nothing  but  a  shadow,  a  vapor  which  dissolved  in 
my  arms! 

Enrique.     What  folly! — A  dream! 

ZoRAYA.  All  dreams  are  not  lies!  If  this  one 
should  be  true,  what  then  ? — Do  assure  me  that  you 
are  not  going  away  to  forsake  me! 

Enrique.     Oh! 

ZoRAYA.     For  another! 

Enrique.     Hush!     Hush! 

ZoRAYA.  I  would  kill  you  first! — No,  no!  Do 
not  believe  that!  Pardon  me  for  saying  that — I  have 
suffered  so  much  during  these  last  two  days.  And 
such  bad  omens!    When  do  we  meet  again? 


56  THE  SORCERESS 

Enrique.  God  knows  when !  So  soon  as  we  can 
without  danger. 

ZoRAYA.     Here  ? 

Enrique.    Oh,  no!  ' 

ZoRAYA.     Where  then  ? 

Enrique.     I  shall  advise  you. 

ZoRAYA.      {In  his  arms)  And  how  shall  I  know? 

Enrique.  That  will  be  arranged! — And,  until 
I  come,  my  dear  love,  believe  nothing,  do  you  hear! 
— nothing,  only  in  my  love  for  you !  ( The  bells 
begin  to  ring  again.) 

ZoRAYA.  Ah!  those  bells  which  always  take  you 
from  my  arms! 

Enrique.     I  hope  to  see  you  soon! 

ZoRAYA.  Watch  carefully  during  your  return 
to  the  city. 

Enrique.     Yes,  yes! 

She  gazes  at  hifn  until  he  disappears  through  the 
doonuay. 


Scene  Five 

AlSHA  opens  the  curtains  in  the  left  arch.  See- 
ing that  ZoRAYA  is  alone,  she  descends  into 
the  scene. 

AiSHA.     He  is  gone? 

ZoRAYA.  ( Going  back  to  the  right)  Yes,  and  let 
us  hope  safely.  He  will  not  return  until  many  days 
have  passed. 

AiSHA.  I  ha\e  turned  away  the  poor  men  who 
came  at  their  usual  hour  seeking  aid  from  you. 


ACT  TWO  57 

ZoRAYA.  Ah !  I  am  in  a  fine  state  of  mind  to 
console  others! 

AiSHA.  I  have  again  given  Al  Mansour's  wife 
that  black  liquor  which  lessens  her  husband's  suf- 
ferings. I  also  gave  a  purse  of  gold  to  Farizade. 
Poor  Saada  is  here  again.  She  is  discouraged.  Her 
sister  suffers  more  than  ever  from  that  malady. 

ZoRAYA.     Alas!    And  there  is  no  remedy! 

AiSHA.  She  begs  you  to  have  pity  on  this  un- 
fortunate woman,  who  asks  that  death  relieve  her 
and  who  implores  you  to  send  her  a  beverage  which 
will  put  her  into  a  sweet  and  everlasting  sleep. 
(  The  bells  stop  ringing. ) 

ZoRAYA.  Ah!  that  is  the  right  kind  of  charity. 
They  give  that  to  a  diseased  dog,  but  they  condemn 
human  beings  whom  they  love  to  suffer  useless  tor- 
tures— it  is  barbarous  and  stupid ! 

AlSHA.     Saada  will  return  tomorrow. 

ZoRAYA.  Prepare  for  her  bitter  almond  essence 
in  a  covering  of  pure  wax  the  size  of  a  muscat  grain. 
That  will  take  away  the  poor  girl  in  less  time  than 
one  can  say:  "There  is  no  other  God  but  Allah!" 
If  it  is  a  crime  to  do  this,  I  am  ready  to  face  the 
charge.     Is  that  all? 

AiSHA.  {With  hesitation)  No! — there  is  an- 
other whom  I  did  not  want  to  send  away.  It  is  an 
urgent  case,  she  said.  She  is  anxiously  waiting  out 
there. 

ZoRAYA.     Do  I  know  her? 

AiSHA.  ( The  same)  She  is  an  old  friend  of  your 
mother's — Fatoum. 

ZoRAYA.  (Quickly)  That  wretched  woman  who 
was  converted!     I  will  not  see  her! 


58  THE  SORCERESS 

AiSHA.  She  assures  me  she  has  been  faithful  to 
the  Prophet's  law. 

ZoRAYA.     Well,  what  does  she  want? 

AiSHA,  She  is  accompanied  by  a  young  girl  in 
a  litter. 

ZoRAYA.     Ill  ? 

AiSHA.     Probably. 

ZoRAYA.     Let  Fatoum  alone  enter. 


Scene  Six 

zoraya,  aisha,  fatoum 

AiSHA  raises  the  portiere  at  the  left  to  admit 
Fatoum,  an  old  Moorish  woman,  who  has 
been  converted. 

ZoRAYA.     Come  forward ! 

Fatoum.  {She  goes  to  Zoraya,  who  is  seated, 
kneels  and  kisses  the  hem  of  her  skirt)  May  Allah 
be  merciful  to  you  and  rain  his  gifts  upon  you! 

Zoraya.  (Severely)  Dare  you  pronounce  His 
sacred  name,  you  who  have  renounced  the  God  of 
your  fathers!  Taice  care  that  He  docs  not  hear 
you! 

Fatoum.  He  reads  my  heart  and  sees  that  I 
am  converted  only  because  I  do  not  want  to  be  sep- 
arated from  the  child,  whom  I  have  brought  here. 

Zoraya.     Your  daughter? 

Fatoum.  By  birth,  no,  Zoraya;  by  affection, 
ah !  certainly,  yes !  She  was  ten  years  old  when  her 
mother  died,  and  I  have  reared  her. 


ACT  TWO  59 

ZoRAYA.     A  Spaniard? 

Fatoum.     Yes!    You  alone  can  heal  her. 

ZoRAYA.  That  is  a  case  for  the  Christian  physi- 
cians. 

Fatoum.  They  know  little  or  nothing.  I  have 
come  to  you  because  your  father — on  him  rested  Al- 
lah's benediction — was  their  master  in  everything 
and  taught  you  the  secrets  of  his  art. 

ZoRAYA.     Well,  who  is  she? 

Fatoum.  She  consented  to  come  only  when  I 
promised  not  to  reveal  her  name. 

Zoraya.     Then  she  may  go! 

Fatoum.  Zoraya,  have  pity!  This  child's  fa- 
ther is  a  hardened  Catholic! — If  he  knew  that  I 
had  taken  his  daughter  to  a  Moor's  home,  I  would 
be  cruelly  punished !  Out  of  fondness  for  me,  she 
keeps  it  a  secret! 

Zoraya.  She  need  not  know  that  you  have  be- 
trayed it. 

Fatoum.     If  you  promise  me 

Zoraya.     Yes,  I  promise! — Who  is  she? 

Fatoum.  Dona  Joana,  daughter  of  the  Gov- 
ernor of  Toledo! 

Zoraya.  {Quickly  risitiff)  That  madman  who  is 
hunting  our  refugees  in  the  Sierra  and  killing  them 
without  pity! 

Fatoum.  Allah,  the  Most  High,  rewards  the 
faithful  for  their  sufferings!  This  child  is  inno- 
cent of  her  father's  cruelties.  She  is  charitable  and 
good,  the  same  as  we  ourselves.  Moreover,  she  is 
very  pious.  She  has  been  out  of  the  convent  only 
four  days  and  will  be  married  today. 

Zoraya.     Ah!  those  bells! 


6o  THE  SORCERESS 

Fatoum.  Her  marriage!  In  order  to  have  her 
visit  3'ou  we  have  taken  advantage  of  a  journey  to 
the  convent  of  Mercy  on  this  beautiful  morning  to 
ask  the  benediction  of  the  abbess. 

ZoRAYA.  The  convent  of  Mercy! — In  it  is  con- 
fined the  poor  creature  who  loved  Kalem,  whom 
they  stoned  to  death. 

Fatoum.     I  do  not  know. 

ZoRAYA.     I,   myself,  know  it — and   I  shall  tell 
Joana  my  price  for  healing  her — Let  her  enter! 
AiSHA  and  Fatoum  go  out  and  return,  bring- 
ing in  Joana. 


Scene  Seven 

THE    same    persons   AND   DONA    JOANA 

Joana  enters,  timid,  frightened  and  supported 
in  Fatoum's  arms. 

ZoRAYA.  (Kindly)  Do  you  not  fear,  senorita,  to 
come  into  a  pagan's  home? 

Joana.  Fatoum  has  told  me  that  you  are  char- 
itable.    That  is  the  law  of  the  Gospel! 

ZoRAYA.  And  also  that  of  the  Koran — In  that 
our  religions  are  the  same! — Seat  yourself,  my 
daughter  {she  sits  upon  the  cushions  at  her  side)  — 
and  tell  me  your  trouble. 

Joana.  (Timidly)  Permit  Fatoum  to  tell  it  in- 
stead of  me. 

Fatoum.  (Seated  on  a  stool  which  Aisha  has 
placed  in  the  left  of  the  scene)  It  is  very  strange — 
She  rises  in  her  sleep  at  night.    Without  seeing  any 


ACT  TWO  6 1 

one,  she  goes,  comes,  attends  to  her  ordinary  duties 
and  returns  to  her  bed — and  during  all  that  time 
she  is  in  a  dream. 

ZoRAYA.  ( Taking  Joana's  hand,  which  re- 
laxes)  And  she  remembers  nothing  of  it? 

JOANA.     Oh,  nothing! 

Fatoum.    This  also  happened  in  the  convent. 

ZoRAYA.  No,  no!  I  prefer  to  have  her  tell  me 
about  it,  herself. 

JOANA.  While  in  the  convent  I  was  frequently 
seized  at  night  by  a  desire  which  led  me  to  walk 
barefoot  through  the  corridors  to  the  chapel  where 
I  lighted  the  altar  candles,  prayed  and  sang  a  can- 
ticle!— and  the  next  day  the  candles  were  still  burn- 
ing and  I  would  not  believe  that  I  had  lighted  them, 
I  prayed  in  vain  to  God  to  deliver  me  from  this 
infirmity.  I  decided  to  come  to  you  this  morning 
with  Fatoum,  who  says  you  are  so  wise ! — For  I  am 
to  be  married  today.  If  my  husband  sees  me  get  up 
in  the  night  and  promenade  like  a  phantom,  he  will 
believe  it  is'  a  punishment  from  Heaven ! — He  will 
abhor  me  and   I  will  die  of  shame ! 

ZoRAYA.  {Leaning  toivards  her)  And  during 
the  day  when  you  pray  you  fall  into  a  dream  of 
ecstasy,  do  you  not — and  you  make  believe  that 
you  are  no  more  on  this  earth? 

JoANA.  {Feeling  gradually  the  suggestions  to 
sleep)  Oh,  yes — yes! — It  is  so  beautiful!  Ah,  it  is 
delicious!  I  see  Heaven! — blue — all  blue,  encircled 
with  a  golden  light! — I  hear  the  songs  of  seraphim 
and  archangels! 

ZoRAYA.  And  is  all  beautiful  in  this  delicious 
slumber  into  which  you  are  falling? 


62  THE  SORCERESS 

JoANA.     (Sleepily)   Yes! — ^Yes,  beautiful! 

ZoRAYA.     As  this?     {She  doses  Joana's  eyes.) 

JoANA.     Yes! — I  see — I — I 

ZoRAYA.     Sleep!     I  want  you  to! 

JOANA  falls  asleep  with  her  head  resting  on 
Zoraya's  shoulder. 

Fatoum.      (In  a  low  voice)  Is  she  asleep? 

ZoRAYA.  It  is  a  sleep  like  that  in  which  she 
walks  at  night. 

Fatoum.    Joana! — Senorita! — My  child! 

JoANA  does  not  tnove. 

ZoRAYA.  She  does  not  hear  your  voice! — Does 
she  also  speak  of  taking  the  veil? 

Fatoum.  Ah,  God! — It  is  her  only  dream. 
But  she  is  her  father's  only  child.  He  will  not  con- 
sent to  it  and  is  obliging  her  to  marry,  which  makes 
her  disconsolate. 

ZoRAYA.  Does  she  object  to  the  marriage,  or  to 
the  man  who  is  to  be  her  husband?  {Calling) 
Joana!  (Joana  moves.  Zoraya  continues.)  An- 
swer ! — Do  you  feel  tenderly  for  him  whom  you  are 
to  marry? 

Joana.      {Feebly)  I  do  not  love  him. 

Zoraya.     Then,  it  is  a  feeling  of  aversion? 

Joana.  No!  {Sadly)  I  do  not  want  to  marry! 
— I  want  to  be  a  nun. 

Fatoum.  Do  you  hear  that! — ^To  me,  to  her 
father,  to  the  abbess  and  to  the  sisters  at  Mercy — 
she  has  nothing  to  say  but:  "I  want  to  be  a  nun." 
Do  you  think  that  they  have  encouraged  her  with 
that  idea  in  the  convent  and  pictured  marriage  as 
something  frightful?  She  is  afraid  that  she  will 
fall  into  one  of  those  sleep-walking  dreams  tonight, 


ACT  TWO  63 

which  would  cause  a  scandal ! 

ZoRAYA.  Perhaps  marriage  would  cure  this 
malady. 

Fatoum.  Oh!  I  implore  you,  Zoraya,  to  heal 
her  yourself,  at  once 

Zoraya.  In  a  day,  it  is  impossible! — Can  you 
not  come  later?  I  shall  surely  succeed  in  curing 
her  by  frequently  placing  her  in  the  present  state  in 
which  she  thinks  of  nothing,  feels  nothing  and  moves 
only  at  my  command. 

Fatoum.     Is  it  possible? — It  is  magic! 

Zoraya.  No  ! — It  is  one  of  the  mysterious  laws 
of  Nature  that  one  will  can  fasten  upon  another,  as 
mine  has  upon  this  child's,  and  cause  it  to  submit. 
It  is  so,  Fatoum,  for  good  or  bad.  If  my  power  over 
this  weaker  creature  were  better  established,  and 
not  so  recent,  I  could  say  to  her  at  this  moment: 
"On  such  a  day,  at  such  an  hour,  you  shall  sleep 
this  same  sleep."  And  unless  she  guarded  herself 
while  asleep,  the  least  remembrance  of  that  order  on 
the  stated  day  and  hour  would  cause  her  to  sleep 
unexpectedly  in  spite  of  her  will,  completely  enslaved 
by  mine.     It  is  time  to  awaken  her. 

Fatoum.  Not  yet,  I  pray  you! — Your  will  is  so 
powerful.  Can  you  not  give  her  some  protection 
against  this  disease  tonight? 

Zoraya.  I  can  attempt  it  with  great  hope  of 
success. 

Fatoum.  Oh!  do  it,  Zoraya! — Do  it!  I  shall 
forever  bless  you ! 

Zoraya.  Joana!  I  tell  you  not  to  have  the 
least  fear  that  your  trouble  will  return  tonight.  I 
have  protected  you.     Do  you  understand? 


64  THE  SORCERESS 

JoANA.     {Feebly)  Yes! — Yes! 

Fatoum.     May  Allah  reward  you! 

ZoRAYA.     I  tell  you  to  awaken. 

She  draws  JOANA  to  her,  leans  over  her  shoul- 
der, places  her  hand  on  the  top  of  her  head, 
breathes  on  her  eyes  and  opens  her  eyelids. 
JoANA  sighs,  rouses  herself,  awakens  and 
looks  astonished. 

JoANA,  (Sadly)  Ah!  you  see! — I  have  slept 
again. 

ZoRAYA.  No,  seiiorita,  no! — It  is  I  who  made 
you  sleep. 

JOANA.     You  can  do  that! 

ZoRAYA.     And  can  also  cure  you. 

JOANA.      (Quickly)  God  has  guided  you! 

ZoRAYA.  Be  assured,  your  malady  will  not  trou- 
ble you  tonight.  (Signs  of  joy  from  JOANA.  Zo- 
RAYA continues.)  All  service,  of  course,  is  wor- 
thy of  reward.  Therefore,  I  put  a  price  on  your 
healing. 

JOANA.     Ah  !    I  promise  to  pay  in  advance. 

ZoRAYA.  You  are  going  to  the  convent  of 
Mercy  ? 

JoANA.  Yes,  to  ask  for  the  blessing  of  the  Holy 
Abbess. 

ZoRAYA.  There  is  in  that  convent  a  Christian 
maid,  who,  for  having  loved  Kalem,  is  confined  in 
a  dungeon  where  she  never  sees  daylight,  where  she 
awaits  death  to  deliver  her,  if  she  has  not  3'et  an- 
swered its  call. 

JoANA.  Yes,  poor  girl,  I  know — but  her 
crime 

ZoRAYA.     You  should  quickly  judge  her  as  be- 


ACT  TWO  65 

ing  the  least  guilty. — Implore  for  that  unfortunate 
girl  the  mercy  of  the  abbess,  who  will  refuse  you 
nothing  on  this,  your  nuptial  day — Ask  that  this 
miserable  creature  be  brougiit  out  of  her  living  tomb, 
that  she  be  given  a  cell  where  she  may  see  a  ray  of 
sunlight,  and  that  she  be  fed  with  other  nourishment 
than  bread  and  water,  which  increase  the  sufferings 
to  which  she  is  condemned.  As  for  this  today — 
Too  late,  we  fear. 

JoANA.     I  shall  request  this  as  a  favor, 

ZoRAYA,     You  swear  that  you  will? 

JOANA.     Before  God ! 

The   distant   bells   again    ring. 

ZoRAYA.  {Without  rising)  Those  are  your  mar- 
riage bells,  dear  child.  (  Aisha  assists  Joana  to  rise) 
I  hope  that  you  will  have  good  health,  a  happy  and 
contented  love  and  that  your  youth  will  be  decked 
with  flowers. 

Joana  leaves  with  Aisha,  while  Fatoum  stops 
to  kiss  Zoraya's  hand. 

Fatoum.     Allah's  benediction  upon  you! 

Fatoum  goes  out  icith  Joana. 

Scene  Eight 

zoraya,  aisha,  zaguir 

At  the  instant  that  Fatoum  and  Joana  disap- 
pear in  the  garden,  Zaguir  appears  on  the 
threshold  of  the  little  door. 

ZoRAYA.     You  followed  those  men? 

Zaguir.     Yes,  mistress! — Far  into  the  city,  but 


66  THE  SORCERESS 

I  lost  them  in  the  crowd.     All  of  the  world  seems 
to  be  in  the  streets,  for  there  is  a  great  fete. 

ZoRAYA.     Yes,  I  know — the  marriage. 

Zaguir.  Of  the  Governor's  daughter  and  Don 
Enrique  Palacios! 

ZoRAYA  stifles  a  heartrending  cry. 

AlSHA.  {Running  to  Zoraya)  Ah!  unhappy 
child!  (Zoraya  clings  fast  to  her,  bewildered, 
swaying,  choking.  She  finally  falls  on  the  cushions 
between  Aisha  and  Zaguir,  who  rush  to  aid  her.) 
My  Zoraya! — My  poor  Zoraya! 

curtain 


ACT  THREE 

Scene — Evening  in  a  Spanish  patio  in  the  govern- 
or's palace.  It  is  seen  obliquely.  In  the  foreground 
and  on  the  three  other  sides  a  portico  of  columns 
surrounds  the  central  space  which  is  open  to  the  sky. 
The  court  is  ornamented  with  flowers  and  shrubs 
and  pomegranate,  orange,  myrtle  and  laurel  trees 
in  red  earthen  pots.  Seats  of  all  kinds  are  scattered 
about.  At  the  foot,  on  the  ground  floor,  is  a  large 
chamber  with  a  door  in  the  middle  and  windows  on 
the  sides.  At  the  right,  in  the  foreground,  under 
the  portico,  a  small  stairivay  of  five  carpeted  steps 
faces  the  audience  and  ends  on  a  landing  which 
gives  access  to  a  vestibule  and  the  bridal  chamber, 
where  the  outlines  of  dimly-lighted  windows  are 
seen.  The  columns  of  the  portico  are  decorated 
with  palms,  foliage  and  floivers  fastened  with  silk 
ribbons.  Roses  and  jasmines  climb  on  the  walls. 
At  the  left,  clearly  in  view,  is  a  door  opening  on  the 
street,  which  is  brightly  lighted  by  the  moon  when 
the  door  is  open.  The  moon  also  shines  intensely 
bright  on  the  front  and  right  side  of  the  house.  The 
rooms  on  the  first  floor  have  lighted  windozvs.  Lan- 
terns hang  from  the  pillars  of  the  portico.  Hung 
from  a  pillar  at  the  left,  a  Madonna  lamp  lights  the 
front  of  the  scene.  There  are  doors  at  the  right,  the 
left,  the  foot  and  at  the  extremities  of  the  portico. 

67 


68  THE  SORCERESS 

Through  the  door  and  windows  of  the  first  floor 
is  seen  the  great  dining  chamber  containing  a  table. 
In  the  scene,  cavaliers,  ivo?nen,  bourgeoise  and  in- 
vited guests  of  all  kinds  are  seated  everywhere;  val- 
ets are  hurrying  about  passing  basins  of  silver  with 
fruits,  cake,  etc.  The  senoras,  seated,  fan  them- 
selves, chatter  and  gossip.  There  is  a  loud  noise  of 
talk  and  laughter.  Music  is  heard  in  the  banquet 
hall,  interrupted  with  lively  bursts  of  applause  and 
exclamations  of  joy.  Little  Spanish  airs  are  played 
sweetly  on  instru7nents  like  flutes,  violins  and  haute- 
bois. 

Scene  One 

cardenos,  ramiro,  dona  rufina,  dona  serafina, 
dona  syrena,  dona  fabia,  velasco,  don  am- 
BROSio,  RIOUBOS,  CRISTOBOL,  Covaliers,  Wom- 
en, etc. 

AMBROSIO,  SYRENA,  SERAFINA,  FABIA,  are  seated 
in  the  foreground.  CRISTOBOL  and  RIOUBOS 
are   outside. 

DoNA  Fabia.    Ah !  here  is  Dona  Rufina. 

Dona  Rufina  enters  with  Ramiro  into  the 
foreground.     Salutations. 
Ramiro.     {To  Dona  Rufina)    Then,  Seiiora, 
you  were  not  at  the  cathedral? 

Dona  Rufina.  {Seating  herself  in  a  chair 
which  Ramiro  places  at  the  left)  No!— I  have  just 
arrived  from  Aranjuez,  bringing  the  Queen's  gift 
to  the  bride — a  very  costly  girdle-buckle. 


ACT  THREE  69 

Cristorol.     Tt  was  a  bcauhful  ceremony,  Senora. 

RiouBOS.  His  Eminence  Cardinal  Ximenes  him- 
self pronounced  the  nuptial  blessing. 

Dona  Syrj^na.  Naturally!  Dona  Joana  is  his 
god-daughter. 

Dona  Rufina.    The  city  seems  to  me  very  gay. 

DoxA  Fabia.     Compared  with  it  ordinarily. 

Ramiro.  Yes,  all  day  they  have  had  on  the 
Plaza  del  Zocodover  entertainments  by  jugglers,  buf- 
foons, dancers  and  monstrous  African  monkeys! 

Don  Ambrosio.  (An  old  cavalier  sit  tin  ff  in  an 
arm-chair)  Yes,  at  this  moment  there  is  singing  and 
dancing  in  all  the  public  places. 

Dona  Syrena.  Among  us,  this  marriage  was  a 
long  time  postponed. 

DoxNA  Fabia.  Yes — they  were  betrothed  five 
years. 

Ramiro.  Pardon  me,  Seiioras.  When  Don  En- 
rique's father — the  Lord  Palacios-^felt  that  he  could 
not  live  much  longer  he  decided  to  select  a  wife 
for  his  son's  future  marriage.  He  and  the  Gov- 
ernor made  an  arrangement  whereby  Don  Enrique 
and  Doiia  Joana  were  affianced.  As  Dona  Joana 
was  then  only  ten  years  old,  her  father  made  her 
go  to  the  convent  to  grow  up ! 

Dona  Rufina.  They  say  she  became  so  devout 
they  believed  she  would  ne\er  come  out. 

Dona  Syrena.  She  did  not  have  a  radiant  air 
in  the  church — the  bride! 

RiouBOS.     No  more  than  did   Enrique. 

Cristobol.  There  was  one  radiant  person — the 
Governor ! 

Velasco.      (Unexpectedly)  Undoubtedly  because 


70  THE  SORCERESS 

his  daughter  did  not  take  the  veil! 

Ramiro.  {To  Velasco)  What!  are  you  here, 
Velasco? — I  believed  you  were  in  Alpujarras^  chas- 
ing the  Moors. 

Velasco.  {Boiving  to  the  women)  I  was,  in  a 
way;  but  I  have  returned  for  this  fete. 

Don  Ambrosio.  Have  they  not  yet  taught  these 
rebels  to  be  reasonable? 

Velasco.  They  have  retreated  into  inaccessible 
places  where  it  is  impossible  to  follow  them. 

Don  Ambrosio.  They  are  chasing  these  pagans 
too  long. 

Ramiro.  Not  now,  Don  Ambrosio.  His  Emi- 
nence and  the  Governor  are  after  them  with  the 
hand  of  death. 

Don  Ambrosio.  Then,  Ramiro,  you  will  see  the 
advantages  of  severe  treatment.  Within  six  months 
thousands  of   Moors  will   be  converted. 

Murmurs  of  satisfaction.     The  music  ceases. 

Cardenos.  That  is  a  mere  farce,  my  Lord  Am- 
brosio! (Gravely)  These  new  Christians  are  liars 
— they  go  to  mass,  only  to  laugh  when  they  come 
away.  They  themselves  confess  of  avowing  only  to 
silly  things.  When  their  children  are  baptized,  they 
wash  them  quickly  to  cleanse  them  of  what  they  call 
the  pollution  of  the  blessed  holy  oil.  {Murmurs  of 
indignation)  Their  daughters  are  married  at  our 
altars,  dressed  as  Christians,  but  when  they  reenter 
their  homes  they  dress  themselves  as  Moors — and 
celebrate  their  nuptials  with  dances  and  forbidden 
Arabian  songs,  such  as  the  zambra,  to  the  music  of 
tambourines,  trumpet-shells,  cymbals  and  other  in- 
struments also  forbidden! 


ACT  THREE  71 

Dona  Rufina.  For  my  part,  I  can  overlook  the 
zambra  and  the  tambourine,  but  I  strongly  approve 
prohibiting  Moorish  women  from  dyeing  their  eye- 
brows and  eyelashes.  They  are  bold  enough  looking 
without  that. 

Dona  Syrena.  Oh,  my!  I  think  the  most  ad- 
mirable ro}  al  edict  is  the  one  which  provides  the  pen- 
alty of  execution  for  any  intimacy  between  a  Span- 
iard and  a  Mooress — for  there  are  truly  beautiful 
girls  in  the  homes  of  these  Africans,  and  you  are 
not  too  little  inclined,  my  lords,  to  perceive  them. 

RiouBos.  And  for  my  part,  Senora,  I  strongly 
approve  of  the  edict  which  punishes  with  solitary 
confinement  in  a  dungeon  any  Spanish  woman  who 
loves  one  of  these  blacks  to  whose  beauty  you  are 
not  always  indifferent. 

Dona  Syrena.  {Quickly)  Oh!  but  that  is  all 
the  more  excusable. 

Laughter  and  exclamations. 

Dona  Rufina  {Quickly)  Ah,  my  dear,  what 
did  you  say  then? 

Dona  Syrena.  {A  little  confused  by  her  blun- 
der) You  see! — Yes! — The  circumstances  are  very 
dififerent. 

The  same  sounds  of  laughter. 

Ramiro.  Ah !  see,  I  beg  of  you,  Seiiora — see  the 
difference! 

Dona  Syrena.  What! — If  the  intrigue  has  re- 
sults, is  it  not  so? 

All.     Yes  I 

Ramiro.    A  child! 

Dona  Syrena.  In  the  first  case,  the  mother  be- 
ing Moorish  the  child  is  a  little  Mussulman — in  the 


72  THE  SORCERESS 

second  case,  where  the  mother  is  Spanish,  it  is  a 
little  Christian ! — Dear  angel ! — And  there  are  never 
too  many  of  those ! 

All.      {Laughing  in  approval)    Oh!  very  good! 
Very  ingenious!     Charming! 

Three  trumpet  calls  are  sounded  in  the  banquet 
room. 
Dona  Rufina.     The  banquet  is  ended.      {She 
rises. ) 

Dona  Syrena.    They  are  going  to  drink  to  the 
healths  of  the  newly  married  ones ! 

All  rise.  Shouts  and  acclamations  ifi  the  hall, 
folloived  by  very  sweet  ?nusic.  All  the  guests 
come  out,  those  in  front  turning  to  look  into 
the  banquet  hall.  Fatoum  appears  on  the 
pavement,  zuhile  valets  distribute  flozvers 
among  the  assistants. 


Scene  Two 

THE  same,  fatoum  AND  ZORAYA 

ZoRAYA,  veiled,  cautiously  enters  unnoticed 
from  the  street  and  goes  to  the  middle  of  the 
foreground.  IVhile  getting  her  bearings,  she 
sees  Fatoum  on  the  landing-place  and  goes 
toward  her,  raising  her  veil. 
ZoRAYA.  Fatoum ! 
Fatoum.     Ah!     Zoraya! 

ZoRAYA.  {Imposing  silence  with  a  gesture)  Yes! 
— I  concluded  that  results  would  be  surer  if  I  re- 
peated the  mesmeric  treatment  which  I  gave  Joana 


ACT  THREE  73 

this  morning. 

Fatoum.  Oh!  I  am  grateful  to  jou!  You  have 
arrived  at  an  opportune  time!  It  is  the  end  of  the 
banquet.  They  arc  now  offering  congratuhitions. 
Joana  is  about  to  enter  her  apartment.  You  will 
pass  for  one  of  the  new  servant  women  whom  I 
have  chosen! 

She   points   to    the   landing-place    of   the  right 
stairway  and  leads  her  to  it. 
ZoRAYA.     Ah !  it  is  there  ? 

Fatoum.     Yes,  where  the  windows  are  lighted. 
ZoRAYA.      {Looking  about)  And  he! — Where  is 
he? 

Fatoum.     He? 
ZoRAYA.     The  husband! 

Fatoum.  In  the  large  chamber  waiting  for  the 
poor  child  to  be  put  to  bed. 

Zoraya  stops  on  the  stairway  an  instant  to 
turn  towards  the  banquet  hall,  then  follows 
Fatoum. 

Scene  Three 

THE  SAME  without  ZORAYA  AND  FATOUM. 
afterward  dona  JOANA  AND  HER  WOMEN, 
CLEOFAS 

While  dance  music  is  being  played,  the  great 
double  door  of  the  chamber  is  thrown  open 
— the  guests  crowd  to  the  ivindows.  The 
zvotnen  arrange  themselves  at  the  left  of  the 
patio,  the  men  at  the  right.  Doxa  Joana 
comes  out  of  the  chamber,  followed  by  her 


74  THE  SORCERESS 

female  attendants.  As  she  descends,  she  is 
saluted  by  the  women,  who  make  courtesies 
before  her,  and  by  the  cavaliers,  who  bow. 
Each,  at  the  moment  she  passes,  throws  a 
floiver  at  her  feet  and  murmurs  a  wish  for 
happiness. 

Dona  Syrena.    Joy  and  health,  Senora! 

Dona  Rufina.     Be  happy,  Dona  Joana! 

Dona  Serafina.  Everlasting  happiness,  Se- 
nora! 

The  Cavaliers.  Our  best  wishes,  Senora! 
Dona  Joana  thanks  them  as  she  descends  into 
the  foreground  and  goes  up  the  steps  lead- 
ing to  her  apartment.  The  women  watch 
her  and  bow  reverently  as  she  stops  on  the 
threshold  to  look  at  them  before  entering 
the  room.  Fatoum  is  luaiting  for  her. 
The  music  stops  when  they  enter. 

Dona  Fabia.  {At  the  left  with  Dona  Ru- 
fina and  Dona  Syrena,  after  Joana  disappears) 
She  is  pale,  the  dear! 

Dona  Rufina.     {Giggling)  With  emotion! 

Dona  Syrena.  They  create  such  false  ideas 
about  a  moment  like  that! 

Dona  Rufina.    And  exaggerate  them  so! 

They  group  themselves,  seated,  near  the  right 
column.  After  the  procession  has  passed, 
Cleofas  descends  at  the  right,  talking  with 
Ramiro  and  Cristobol.  The  guests  dis- 
perse in  the  patio,  sitting  or  standing.  There 
is  a  murmur  of  confused  voices. 

Cleofas.     Whew ! — it  is  warm  in  that  chamber ! 

Dona   Syrena.      {To   Dona   Fabia  in  a  low 


ACT  THREE  75 

voice)    Especially  after  they  have  emptied   all  the 
flajjons! 

Dona  Rufina.  (  7'o  Cleofas)  Cleofas  would 
have  done  well  had  he  given  the  bride  some  com- 
forting elixir. 

Cleofas.  (Gaily)  Oh,  yes!  Those  nuns  have 
pictured  marriage  to  her  as  something  horrible! 

Dona  Rufina.  The  poor  little  child  has  had 
no  one  to  give  her  a  mother's  care. 

Ramiro.  Oh,  yes! — there  is  Fatoum,  the  con- 
vert, who  has  brought  her  up. 

Don    Ambrosio.     And,    speaking    of    converts, 
Master  Cleofas,  the  Very  Holy  Inquisition,  of  which 
you  are  the  physician,  seems  to  me  to  be  enjoying   , 
a  very  long  moment  of  leisure. 

Cleofas,  {With  satisfaction)  Oh,  oh!  the  Tri- 
bunal is  not  out  of  work.  And,  after  a  short  time, 
I  believe  that  I  may  promise  these  ladies  a  very 
jolly   bonfire. 

Murmurs  of  satisfaction. 

Dona  Syrena.    Of  heretics? 

Cleofas.  Of  heretics,  Moors,  Jews,  renegades 
and  backsliders — a  sample  of  each. 

Dona  Rufina.    And  of  sorcerers? 

Cleofas.  Of  sorcerers  and  sorceresses,  also — 
but  fewer  in  number  than  is  desirable. 

Cardenos.  {To  Cleofas  in  a  low  voice) 
Master  Cleofas,  I  should  like  to  say  two  words  to 
you  in  that  regard. 

Cleofas.     At  Your  Grace's  disposition! 

He  goes  to  the  left  of  the  scene,  followed  by 
Cristobol,  Rioubos  and  Ramiro,  who  sur- 
round him. 


76  THE  SORCERESS 

Cardenos.  You  have  not  forgotten  an  Arabian 
physician  named  Abou-Abassa? 

Cleofas.  a  physician! — said  to  be  a  charlatan, 
who  resided  on  the  left  bank  of  the  river  in  a 
house  on  the  hillside,  vv^here  his  daughter  now  lives. 

Cardenos.     Zoraya ! 

Cleofas.  Oh,  yes!  I  knew  him! — I  was  en- 
raged to  see  Bishop  Talavera  honor  and  protect  a 
Moor,  who  had,  they  say,  healed  a  sprain  with 
friction — in  reality,  Cardenos,  by  means  of  mystic 
signs   and   magic   incantations. 

Cardenos.  Then  you  are  sure  that  man 
was 

Cleofas.  A  necromancer!  And  worse  than 
that!  Listen  and  judge,  friend  Cardenos!  {He 
seats  himself)  One  day  I  was  riding  my  mule  on 
the  road  leading  to  the  bridge  of  San  Martino. 
They  called  to  me  to  examine  a  child  which  had 
been  taken  from  the  river  apparently  dead.  "Have 
you,"  I  asked,  dismounting,  "suspended  it  by  the 
feet  in  order  to  expel  the  water  from  the  body  ? 
'Yes,  lord' — And  that  has  not  resulted  in  resuscita- 
tion?— 'No,  lord' — Then,  there  is  nothing  more  to 
do.  Good  evening!" — And  I  passed  on — The 
child  was  dead,  was  it  not? 

Cardenos  and  the  Young  Men.     Yes! 

Cleofas.  Eight  daj's  later  I  re-passed  the 
same  place  and  whom  do  you  think  I  saw  playing  on 
the  rocks  with  a  gang  of  ragamuflfins? — Who? — My 
drowned  child ! 

All.     Oh ! 

Cleofas.  Astounded,  I  questioned  the  child 
and  found  that  after  I  left  they  had  recourse  to  that 


ACT  THREE  77 

quack,  Abou-Abassa,  who  had  breathed  in  the 
child's  mouth,  made  strange  motions  ^\  ith  its  arms 
and  succeeded  in  reanimating  him  after  an  hour  and 
one  half! — The  magic  was  shown  in  the  breathing 
and  gestures  and  in  this  diabolical  resurrection, 
which  was  an  ignoble  parody  on  the  miracles  in 
the  Scriptures! 

Cardenos.     It  is  the  same  evidence. 

Cleofas.  The  wretch  is  dead! — But,  his  daugh- 
ter, who  has  been  devoted  to  the  works  of  the  devil 
since  her  birth,  interferes  just  as  he  did  with  the 
treatment  of  my  patients:  even  with  my  own  gov- 
ernor, Petronille,  whom  I  attended  after  fainting 
spells.  I  gave  him  hartshorn,  which,  you  know,  is 
the  best  cure  for  such  illnesses,  as  is  also  the  oil 
of  ants  and  the  salt  of  wood-lice — what  is  it  they 
call  this  Olivera — whom  they  have  given  me  for 
a  colleague  in  the  Tribunal? 

Cardenos.     The  surgeon? 

Cleofas.  Yes,  this  ignoramus  goes  so  far  as  to 
make  sport  of  the  inclusion  of  pearls  and  precious 
stones  in  our  remedies ;  as  if  it  were  not  proved 
every  day  that  sapphires  are  the  principal  cures  for 
ulcers,  and  emeralds  infallible  preventatives  of  pests! 

He  rises. 

Cardenos.     Assuredly! 

Cleofas.  Between  us,  this  Olivera  is  to  be 
watched,  Cardenos — I  am  sure  he  believes  more  in 
the  devil  and  witches  than  he  does  in  medicine. 

Cardenos.     What  is  your  reason? 

Cleofas.  Oh !  nothing — He  smells  of  it  and  I 
advise  vou  to  watch  him — I  said  then — where  was 
I? 


78  THE  SORCERESS 

Cardenos.    You  spoke  of  Petronille. 

Cleofas.  Ah!  yes,  my  governor!  Do  you  be- 
lieve that  this  wretch  would,  without  consulting 
me,  let  himself  be  conducted  to  Zoraya's  home? 
Seeing  him  lively  and  apparently  cured,  I  said : 
"Ha,  my  hartshorn  powders?" — "No  such  thing!" 
he  replied.  "It  was  not  your  powders — it  was  a 
remedy  which  the  Moorish  woman  gave  me! — 
Swindler!  pick  up  your  packets  and  leave  at 
once." — It  is  better  for  me  to  work  myself  to  death 
giving  my  own  remedies  than  to  deceive  patients 
with  the  kinds  which  she  uses! 

Cardenos.     Certainly! — if   it   is   magic 

Cleofas.  It  is  magic,  Cardenos,  do  not  doubt 
it.  This  sorceress  is  competing  with  me  dishonestly. 
This  is  not  all — she  takes  no  pay  from  the  poor 
for  her  attention  or  her  medicines.  And  will  you 
believe  me  when  I  tell  you  that  she  sends  them 
away  with  their  hands  full  of  gold? — We  shall 
have  to  struggle  now ! — Our  practise  is  being  ruined. 

Cardenos.  Your  Honor  may  be  reassured — 
they  have  an  eye  on  her. 

An  agent  of  the  Inquisition,  dressed  in  black, 
enters  jrom  the  street. 

The  Agent.  {Going  to  them)  Lord  Cardenos, 
His  Eminence  prays  you  to  come  without  delay, 
for  urgent  business. 

Cardenos.  I  shall  come  at  once! — This,  Mas- 
ter Cleofas,  may  have  something  to  do  with  your 
Mooress. 

Cleofas.     Good !     Good ! 

Cardenos    and   the    man    go    into    the   street. 
They  play  a  saraband  in  the  banquet  hall. 


ACT  THREE  79 

Scene  Four 

the    same,    don    enrique,    lopez    de    padilla, 
guests,  men  and  women,  etc. 

Don  Enrique,  accompanied  by  Lopez  de  Pa- 
DILLA  atid  other  cavaliers  arid  gentlemen,  de- 
scends   from    the    banquet    chamber    in    the 
midst  of  an    uproar  of  congratulations  and 
salutations,  the  cavaliers  kissing  the  hands  of 
the  women.      The  guests  begin   to  disperse. 
Most  of  them  go   out  of  the  door  into  the 
street ;  others  go  out  at  the  left.     There  is 
laughter  as  they  go  away. 
Dona  Rufina,  Dona  Fabia  rt«^/DoNA  Syrena. 
{To    Enrique,    laughing   and   making   courtesies) 
Good  night,  my  lord. 

lie  conducts  them  to  the  door  opening  on  the 
street.      Returning,    he   finds    Padilla   and 
some  friends.     Meanwhile  the  servants  put 
out  the  lanterns  and  the  patio  is  lighted  only 
by  the  moon. 
Padilla.      {Surrounded    by    the    inen,    to    En- 
rique)   The  only   thing  which   marred   this  feast, 
Don  Enrique,  was  the  absence  of  your  father,  whom 
we  needed. 

Enrique.  It  was  the  fulfillment  of  his  dearest 
wish  and  I  thank  Your  Excellency. 

Padilla.  I  have  bestowed  upon  you,  my  child, 
all  of  the  esteem  and  affection  which  I  had  for  the 
dear  companion-in-arms  of  my  youth.  I  have  placed 
in  your  care  what  is  dearest  to  me  in  this  world 
with  the  assurance  that  vou  will  be  a  tender  hus- 


8o  THE  SORCERESS 

band  to  my  adored  daughter. 

Enrique.     And  to  you,  my  lord   {he  kisses  his 
hand)   a  most  respectful  son. 

Padilla.      (To  the  others)  Then,  gentlemen,  it 
is  time  for  such  graybeards  as  we  to  leave  this  im- 
patient youth. — Until  tomorrow,  my  child! 
Enrique.     Until  tomorrow,  my  father! 

While  the  valets  are  closing  the  street  door  on 
the  last  departing  guests^  Padilla  and  the 
other  gentlemen  go  tozvards  the  left  door, 
accompanied  to  the  threshold  by  Enrique. 
Joana's  zvomen  attendants  descend  the  stair- 
ivay,  cross  the  patio  and  leave  by  the  door  at 
the  right.  They  meet  Enrique  coming  up. 
He  descends  and  receives  their  salutes  as 
they  pass,  turning  tozvard  the  stairway  to 
re-ascend  after  they  have  disappeared.  At 
that  moment  all  is  dark,  except  the  vestibule, 
the  landing-place  and  the  right  zvindozv. 
While  the  women  are  going  out,  ZoRAYA 
comes  out  of  the  vestibule,  stops  on  the  land- 
ing-place to  assure  herself  that  the  patio  is 
vacant   and   motionless   awaits   Enrique. 


Scene  Five 

zoraya,  enrique 

This  scene  folloivs  the  last  sounds  of  laughter, 
conversation  and  music. 
Enrique.      {Stopping  at  the  foot  of  the  sfair- 
ivay  on  seeing  Zoraya  veiled)  Who  are  you,  worn- 


ACT  THREE  8i 

an,  and  why  do  you  not  leave  with  the  others? 
(ZoRAYA  is  silent.)  Do  you  not  hear  me?— Who 
are  you  ? 

ZoRAYA.  (Raising  her  veil)  I  am  the  sorrow 
and  you  are  the  traitor! 

Enrique.      {Recoiling)    Zoraya! 

ZoRAYA.  You  have  forgotten,  have  you  not,  to 
invite  me  to  this  feast? 

Enrique.  {Looking  about  uneasily)  You!  here 
— in  this  house! 

ZoRAYA.     In  your  wife's  home,  yes. 

Enrique.     To   tell  her 

ZoRAYA.  {Sorroiv  fully)  Ah!  you  wretch! 
Your  only  thought  is  for  her.  My  despair  does 
not  move  you  so  much  as  the  fear  that  she  will 
not  accept  the  lover  of  a  Saracen ! 

Enrique.  (Uneasily)  Lower!  Speak  lower! 
I  beg  of  you ! 

Zoraya.  (Without  listening)  You  are  not  so 
innocent  as  you  were  on  the  steps  of  the  church 

Enrique.     You  were  there! 

Zoraya.  It  was  to  the  entire  city  that  I  failed 
to  cry:  "That  Christian  is  my  lover!"  But  that 
cry  would  have  sent  you  to  the  King's  galleys.  My 
heart  failed  me  and  coward  that  I  am,  I  was  ready 
to  flee,  weeping. 

Enrique.  Do  not  condemn  me  without  hear- 
ing me! 

Zoraya.  Oh,  God! — you,  you,  who  this  morn- 
ing— Oh,  God!  God!     Is  it  possible? 

She  falls  seated  at  the  foot  of  the  column. 

Enrique.  My  Zoraya,  my  mistake,  mine  alone 
for  not  telling  you  the  first  day 


82  THE  SORCERESS 

ZoRAYA.     Do  you  love  this  girl? 

Enrique.    Ah !  certainly,  no ! — I  was  forced 

ZoRAYA.     You  betrayed  me  for  her? 

Enrique.  It  is  she  whom  I  have  betrayed  for 
you! — I  have  known  you  only  three  months.  She 
and  I  were  betrothed  years  ago! — But  I  was  so  sure 
she  would  take  the  veil  and  remain  in  the  con- 
vent. After  this  marriage  was  arranged  contrary 
to  her  wish  and  my  own,  I  found  so  many  pre- 
texts for  postponing  it  that  further  delay  would 
have  roused  suspicion.  They  would  have  searched 
for  the  reason  and  found  it,  perhaps.  Then ! — then, 
during  the  last  two  days  when  I  did  not  see  you,  I 
resolved  to  confess  all  to  you. — This  morning  I  at- 
tempted to  tell  you — But  I  saw  you  so  roused  over 
a  single  thought  of  another  woman  that  I  did  not 
have  the  courage  to  cause  a  scene  and  Avithstand 
your  reproaches,  which  would  have  been  needless, 
as  I  could  not  let  your  tears  cause  me  to  forget  my 
solemn  obligations  as  a  Christian,  my  word  as  a  gen- 
tleman and  my  most  sacred  duties. 

ZoRAYA.  Yes!  All  of  your  duties  are  sacred 
except  those  towards  me! — and  you  hope,  do  you 
not,  that  I  have  considered  them  as  fulfilled? 

Enrique.     Yes! 

ZoRAYA.  That  I  shall  receive  j'our  return  to 
me  with  open  arms? 

Enrique.  That  you  will  pardon  me,  at  least, 
and  join  me  in  returning  faithfully  to  our  love. 

ZoRAYA.  Oh,  indeed! — More  in  love  than  ever! 
The  contrast  of  the  Moor  and  the  Spaniard!  A 
variety  of  pleasures  always  prevents  one's  taste  from 
becoming  stale! 


ACT  THREE  83 

Enrique.  {Seating  himself  near  her)  But  I 
do  not  love  this  child! — I  do  not  love  her! 

ZoRAYA.  (Rising,  going  to  the  left)  Yes,  this 
is  the  cry  of  the  brutal,  egotistical  male! — You  do 
not  love  her! — But  it  is  to  her  that  you  sacrifice  me. 
— You  do  not  love  her,  but  I  stop  you  on  the  thresh- 
old of  her  room! — A  few  paces  from  her  bed! — I 
should  scorn  myself  as  a  woman  of  the  street  if  I 
could  discover  in  my  mind  a  single  thought  which 
is  not  for  you! — I  should  curse  my  eyes  if  they 
gazed  for  an  instant  on  any  other  face  but  yours! 
— Where  could  I  wash  away  the  stain  if  any  other 
lips  than  yours  touched  mine? — And  it  appears  nat- 
ural for  you  to  be  at  the  same  time  the  husband  of 
your  wife  and  the  lover  of  your  mistress — to  run 
from  one  to  the  other  and  to  bring  to  me  smiling 
the  dessert  of  your  nuptial  night! — And  it  is  you 
who  say  to  me:  "Believe  nothing,  nothing  in  the 
world  but  my  love  for  you !"  Ah,  coward  ! — cow- 
ard !  liar! — Here  is  your  love! — Here  it  is! 

Enrique.      (Standing)  My  dear  Zoraya! 

ZoRAYA.  (Quickly,  restraining  her  tears)  Oh, 
leave  me !    Wretch !    Leave  me !    I  hate  you ! 

She  leans  sobbing  against  a  pillar  at  the  left. 

Enrique.  Lower!  Speak  lower! — I  beg  of 
you! — If  they  should  hear  us! 

ZoRAYA.  Oh!  If  only  they  would  hear! — Let 
them  come!  and  let  them  kill  me! — It  is  all  the 
same  to  me  if  it  happens  now! 

They  hear  the  night  watchman's  halbert  strik- 
ing the  pavement  stones. 

Enrique.  (Frightened  and  pointing  to  the 
street)  Be  quiet! — There  is  some  one  there! 


84  THE  SORCERESS 

The  Watchman.  (Outside^  passing  the  door 
and  chanting)  Ave,  Maria! 

Enrique.      (In  a  low  voice)  It  is  the  watchman. 

The  Watchman.  It  is  the  sixth  hour! — I  am 
the  watchman! 

He  passes. 

Enrique.  He  has  passed!  {He  goes  to  the 
steps  and  listens)  But  here,  these  windows! — the 
valets! — {Scrutinizing  the  right  vestibule)  And 
Joana! 

Zoraya.  Your  wife! — It  is  not  she  who  can 
hear  us! 

Enrique.      {Frightened)   What  did  you  say? 

Zoraya.  {Standing  rnotionless)  Go,  and  find 
out  for  yourself. 

Enrique  goes  up  the  steps  and  enters  the  room. 

The  Watchman.  {In  the  distance)  Ave, 
Maria ! 

Enrique.      {In  the  chamber)  Joana!     Joana! 

The  Watchman.  {Farther  away)  It  is  the 
sixth  hour. 

Enrique.     {With  the  same  voice)  Joana! 

The  Watchman.  {Faintly  in  the  distance)  I 
am  the  watchman! 

Enrique.  {Coming  out  of  the  room  and  stand- 
ing frightened  at  the  end  of  the  stairway)  Ah, 
wretch! — It  is  you  who  did  it? 

Zoraya.     Yes!     It  is  I! 

Enrique.  {Descending  the  stairs  rapidly)  You 
have  killed  her? 

Zoraya.     Poor  child! — She  is  asleep! 

Enrique.  {Going  to  Zoraya)  I  spoke  to  her 
— she  heard  nothing.     I  raised  her — she  fell  back 


ACT  THREE  85 

cold, 

ZoRAYA.     She  is  asleep,  I  tell  you. 

Enrique.  What  power  do  you  possess  which 
will  produce  a  sleep   like  death? 

ZoRAYA.  What  does  it  matter  so  long  as  this 
is  only  the  appearance  of  death! — She  will  sleep  un- 
til the  hour  which  I  have  set  for  her  to  awaken. — 
And  this  is  your  punishment:  when  she  awakens  she 
will  be  deaf  to  your  voice,  also  distant  and  cold  in 
your  arms! — You  will  then  understand  that  your 
true  wife  was  not  this  angelic  creature  who  wanted 
no  other  spouse  than  God,  but  the  Moor,  who  gave 
you  more  love  in  a  single  clasp  of  her  hand  than 
this  nun  in  the  entire  abandonment  of  her  nerveless 
body,  revolting  at  your  caresses. 

Enrique.  (At  her  feet)  What  does  it  matter 
to  me? — I  shall  not  dispute  with  that  virgin  over 
her  celestial  spouse.  And  I  shall  be  free  for  you, 
for  you  alone,  without  causing  her  grief,  or  me  re- 
morse. 

ZoRAYA.  {Draiuing  aivay)  I  do  not  care  to 
put  you  to  the  test! 

Enrique.     You  intend  to  leave? 

ZoRAYA.     Yes. 

Enrique.     Alone — tonight? 

ZoRAYA.     I  intend  to  leave  Toledo  before  dawn. 

Enrique.     To  leave  Toledo? 

ZoRAYA.  Ah!  God,  yes! — this  accursed  city 
which  has  nothing  but  sorrow  and  peril  for  me! 

Enrique.  {Barring  her  exit  at  the  door) 
What!     It  is  absurd — you  shall  not  go! 

ZoRAYA.  You  would  prefer  to  deliver  me  to 
the  Inquisition? 


86  THE  SORCERESS 

Enrique.     Ah!     How  unworthy! 

ZoRAYA.  They  are  seeking  for  me — tonight, 
perhaps. 

Enrique.    And  where  are  you  going,  poor  child  ? 

ZoRAYA.  Into  the  Sierra,  by  paths  known  only 
to  us,  to  the  homes  of  the  rebels.  Later  I  shall  go 
to  Africa  and  find  refuge  in  my  father's  brother's 
home  in  Tangier. 

Enrique.  And  there  will  be  between  us  the 
mountains,  the  rivers  and  the  sea! — And  shall  we 
always  be  apart,  the  one  from  the  other? 

ZoRAYA.     You  are  the  one  who  wishes  it. 

Enrique.  No,  I  do  not  wish  it — Give  up  your 
home! — It  is  wise — But  Toledo! — I  know  where  I 
can  find  a  refuge  for  you,  which  is  free  from  danger. 

ZoRAYA.     For  instance,  your  wife's  home! 

Enrique.     Ah!  always  she! 

ZoRAYA.  Yes !  always  she  between  us ! — Always, 
always  she! 

Enrique.  Neither  she  nor  any  person — No  one 
in  this  world ! 

ZoRAYA.     Do  you  say  so  truly? 

Enrique.     Before  God! 

ZoRAYA.     You  love  so  much  as  that? 

Enrique.     Yes! 

ZoRAYA.     You  will  sacrifice  all  for  me! 

Enrique.    Yes! 

ZoRAYA.      {In  his  arms)  Then!    Come  with  me? 

Enrique.  {Thrilled)  To  the  home  of  your 
kindred  ? 

ZoRAYA.     They  will  receive  you  as  a  brother! 

Enrique.     Me?      A  Spaniard — an  enemy? 

ZoRAYA.     As  my  lover! 


ACT  THREE  87 

Enrique.  With  the  rebels,  me,  a  soldier? — 
Disclaim  my  king? 

ZoRAYA.     A  tyrant! 

Enrique.     My  God? 

ZoRAYA.     He  is  for  every  one. 

Enrique.  And  an  exile — forever  an  exile  from 
my  country? 

Zoraya.  IVIy  o\\  n  country  is  the  country  where 
we  may  love. 

Enrique.  No,  do  not  say  so!  It  is  a  crime  to 
listen  to  your  words. 

Zoraya.     My  adored  Enrique! 

Enrique.  Deserter!  renegade!  perjurer.  Trait- 
or to  all  my  duties  for  all  time!  Never!  even  for 
you !     Never !     Never ! 

Zoraya.  Stay  then,  coward,  who  has  caused 
me  to  lose  everything! 

Enrique.     Zoraya! 

Zoraya.     Go — return  to  your  wife! 

She  opens  the  street  door  quickly  to  go  out  and 
recoils  on  seeing  Cardenos  standing  mo- 
tionless on  the  threshold. 


Scene  Six 

the  same  persons,  cardenos 

Zoraya.      (Frightened)  Cardenos! 

She  goes  to  the  left. 
Enrique.     Cardenos  here! — at  this  hour! 
Cardenos,     (Entering)  I  am  not  more  surprised 
to  see  you  myself,  Don  Enrique,  than  to  find  you  in 


88  THE  SORCERESS 

such  company, 

Enrique.  {Who  places  himself  quickly  between 
Cardenos  and  the  door,  ivhich  he  fastens)  Is  that 
advice,  or  a  threat? 

Cardenos.  {Coldly)  Neither  one  nor  the  other! 
— I  am  here  by  order  of  the  Holy-Office  to  arrest 
this  woman  {movement  by  Enrique  to  rejoin  and 
protect  Zoraya)  who  practises  sorcery. 

ZoRAYA.     That  is  false! 

Enrique.     Foolishness! 

Cardenos.  You  seem  to  have  forgotten  the 
punishment  in  store  for  a  crime  like  yours. 

Enrique.     You  are  presumptuous! 

Cardenos.  {Continuing  coldly)  His  Eminence, 
knowing  that  this  w^oman  was  seen  to  enter  this 
house  without  coming  out,  entrusted  me  with  the 
task  of  watching  at  this  door  to  arrest  her  with- 
out noise  when  she  came  out  and  at  the  same  time 
unknown  to  you. 

Enrique.  His  Eminence  had  foreseen  that  I 
would  not  let  you  do  it! 

Cardenos.  He  has  only  foreseen  your  submis- 
sion and  confession  for  the  care  which  he  has  taken 
— out  of  regard  for  your  name,  your  rank,  and  your 
young  wife,  his  pupil — to  separate  your  case  from 
that  of  your  accomplice,  and  inflict  upon  you  only 
a  penance  which  will  reconcile  you  with  the  Church! 
Zoraya.  {Quickly)  Ah!  if  that  is  so,  good — 
I  will  go  with  you! 

Enrique.  {Violently  obstructing  her  passage^ 
Are  3'ou  foolish?  {To  Cardenos.)  Go  tell 
Ximcnes  that  he  has  no  right  to  my  confession  un- 
less he  provides  the  same  indulgence  for  her  whom 


ACT  THREE  89 

he  calls  my  accomplice. 

Cardenos.  You  shall  say  it  to  him  yourself, 
Senor  Enrique.  (7'oZoraya)  Come,  you! — Fol- 
low me! 

Enrique.  {Stopping  Zoraya)  By  God!  This 
is  insolence! 

Zoraya.     Enrique! 

Enrique.  Silence!  {To  Cardenos)  And  you 
— get  out  of  here! 

Cardenos,  Be  careful  that  you  do  not  render 
indulgence   for   yourself    impossible! 

Enrique.     That  is  my  own  affair! 

Cardenos.     And  you  would  lose  it  for  nothing! 

Zoraya.     He  has  a  reason! — Let  me  go! 

Enrique.  {Sharply  to  Cardenos)  Arc  you 
not  going? 

Cardenos.  I  beg  of  you,  my  lord,  to  listen 
to  the  prayer  of  a  man  as  old  as  your  father,  and 
who  has  known  you  since  you  were  a  child. 

Enrique.  During  that  time  you  should  have 
learned  a  better  profession  than  the  one  you  are 
now  engaged   in. 

Cardenos.     He  would  say  the  same  to  you. 

Enrique.  He  can  blaspheme  me  if  I  have  the 
infamy  to  deliver  up  the  woman  whom  I  love. — 
And  I  would  deserve  the  insults  of  all  the  scullions 
of  the  city ! 

Zoraya.  No!  No!  {To  Cardenos)  Do  not 
listen  to  him.     Take  me  away. 

Cardenos  places  his  hand  on  her. 

Enrique.  {Stepping  betiueen  them)  Scoun- 
drel !     Do  not  touch  this  woman ! 

Cardenos.    Do  you  refuse  to  let  her  go? 


90  THE  SORCERESS 

Enrique.     I  dare  to  say  yes. 

Cardenos.     If    there    is   a    disturbance    and    a 

scandal  it  will  be  only  because  you  have  wanted  it! 

He  turns  to  go  out.     Enrique  steps  fonvard 

between  him  and  the  door,  putting  his  hand 

on  his  shoulder. 

Enrique.     Where  are  you   going? 

Cardenos.     Where  I   please. 

Enrique.     To  bring  your  men? 

Cardenos.     You  compel  me  to  do  so. 

Enrique.  You  shall  not  go! — You  shall  not 
call  them! 

Zoraya.     Ah!     My  God! 

Cardenos.  (fVithdraiuing  to  the  center  of  the 
patio)  Then,  there  are  our  special  valets  who  shall 
help  me! 

Enrique.  (The  same)  You  venturesome  ruf- 
fian! 

Cardenos.     Let  me  go! 

Enrique.     No! 

Cardenos.     I  shall  call  my  men! 

Enrique.     I  defy  you  to  do  so! 

Cardenos.     Help ! 

Enrique.      (Leaping  upon   him)      Silence! 

Cardenos.     (Drawing  his  dagger)      Help! 

Enrique.  (Snatchitig  it  jrom  him.  He  seizes 
Cardenos  by  the  wrists  and  throivs  him  to  the 
ground)      Silence!      Silence! 

Cardenos.     Help ! 

Enrique.  (Seizing  his  throat)  You  will  be 
silent,  demon! 

Cardenos^  suffocated,  beats  the  air  with  his 
hands,  then  falls  strangled  at   the   right   of 


ACT  THREE  91 

the  steps. 
ZoRAYA.      {Leaping  ioivards  him)      Ah!   unfor- 
tunate man!     What  have  you  done? 

Enrique.      {Infuriated,  stoops  over  Cardenos) 
What? — What  have  I  done  to  him? 

Zoraya.      {Raising  his  head)      He  is  dead! 
Enrique.      {Frightened)      No! 
Zoraya.     See!     He  is  dead,   I  tell  you!     See! 
He  is  dead !     He  is  dead ! 

She  lets  Cardenos^  arms  fall  back. 
Enrique.     Is  it  possible! 

Zoraya.      {Turning  her  eyes  to  the  foot  of  the 
stage)      Be  quiet! 

They  see  a  lantern  passing  from  one  ivindoiv  to 
another,  followed  by  the  sound  of  the  open- 
ing   of    the    middle    window.     Frightened, 
Zoraya  and  Enrique  seek  refuge  on   the 
little  stairway,  hiding  behind  a  column  and 
clumps  of  flowers. 
Ramiro.      {Half -clad    at    the    windoiv,    leaning 
in)     Hello!      Some    one    called! — Who    is    there? 
{They   hear  another  windoiv   opened   opposite   the 
first  one)     Is  that  you,  Gines? 

GiNES.      {Invisible)      Yes,   master! 
Ramiro.     Did  you  hear  that  disturbance — those 
shouts  ? 

Gines.     Yes! — They  were  calls  for  aid! 
Ramiro.     Was  it  in  this  house? 
Gines.     More  likely  in  the  street — those  belated 
drunkards! 

Ramiro.     Dress     yourself,     awaken     Padillo. — 
We  shall  see! 

He  disappears,  fastening  the  window. 


92  THE  SORCERESS 

ZoRAYA.  {Frightened,  rising  suddenly,  in  a  low 
voice)      They  have  gone! 

Enrique.  Except  you,  no  one  has  seen  me  and 
none  can  accuse  me! 

ZoRAYA.  That  is  folly! — A  man  comes  to  ar- 
rest me — who  should   kill  him   but  you? 

Enrique.  It  is  true! — Ah!  God,  God!  As- 
sassin!— Me!    me! 

ZoRAYA.  Do  not  become  excited  or  lament. 
What  is  done  is  done.  We  shall  not  await  them, 
shall  we? 

Enrique.     Go  then! 

ZoRAYA.     Alone  ? 

Enrique.     Go,  Zoraya. 

ZoRAYA.     Without  you — No! 

Enrique.  Merciful  Heaven!  What  course 
shall  we  take? 

ZoRAYA.      Flight! 

Enrique.     And  where  shall  we  fly  to? 

ZoRAYA.     Where  I   told  you! 

Enrique.  It  is  dishonorable  and  my  life  will 
be  lost! 

Zoraya.  Remain!  Then  you  will  lose  it  more 
quickly ! — Come !  Come  on ! — Come ! — Come ! 
{She  runs  to  the  street  door  and  opens  it.  They 
hear  sounds  of  voices  outside  and  the  scraping  of 
guitars.  She  quickly  fastens  the  door.)  The  mu- 
sicians ! 

Enrique.     In  the  street? 

Zoraya.  {Despairingly)  If  they  have  come 
to  give  the  morning  serenade,  it  is  for  us. 

They    listen   anxiously.      The   musicians   drcnu 
near,  conversing  and  laughing,  ivhile  thumb- 


ACT  THREE  93 

ing  their  strings. 
A  Musician.     Shall  we  serenade  Don  Enrique 
Palacios? 

ZoRAYA    makes   a    movement  of  fright. 
Another.     Simpleton! — He     cares     much     for 
your  music  at  this  moment! 

Laughter. 
Another.     Besides,    they    did    not    pay    us    for 
serenading  him ! 

Approbations.      Enrique    anxiously    watches 
the  house  from  the  foot. 
The    Other.      {Farther  away)     Come,    then! 
Laggards! — Not  there,  but  in  the  other  street. 
All.     Yes!     Coming,   coming! 

They  go  aiuay   making  the  same  sounds  with 

which  they  came.    Enrique  goes  toward  the 

foot  listening  for  the  valets'  return. 

ZoRAYA.      {Opening    the    door    cautiously    and 

looking   into   the  street)      They   are  going  farther 

away. — They  have   gone  round   the  corner  of  the 

house.      {Shortly   afterivard   they    hear  the  distant 

serenade,  a  voice  singing:) 

Oh !     Love  is  the  conqueror 

Whose  flames  devour  me! 
Open  thy  heart, 

Thy  lover  implores  thee! 

(ZoRAYA  opens  the  door  and  looks  relieved)  The 
street  is  clear.  Come  quickly!  {Seeing  Enrique, 
who  is  searching  for  something  on  the  floor)  Good 
God!  what  are  you  searching  for? 

Enrique.     His  dagger,  which  he  dropped. 


94  THE  SORCERESS 

He  picks  it  up  and  runs  to  the  door. 
ZoRAYA.      {Taking  him  in  her  arms)     Ah!  yes, 
yes! — Should  they  arrest  us,  you  will  kill  me! 
Enrique.     Yes,  and  myself  afterward! 
ZoRAYA.      {Seeing   a   light   at    the    door   of   the 
ground  floor,  at  the  foot)  Their  voices!     Quickly, 
come  quickly! 

She  and  Enrique  hurry  out.  At  the  same 
time  the  door  opens  and  Ramiro  quickly 
enters  with  two  valets,  one  of  whom  carries 
a  lantern.  Ramiro  sees  the  body  of  Car- 
DENOS^  snatches  the  lantern  from  the  valet's 
hands  and  looks  at  the  dead  mans  face. 
All  the  Three,     Cardenos! 

One  of  the  valets,  seeing  the  street  door  open, 
runs  to  it  and  looks  into  the  street.  The 
other  joins  him  and  they  spring  out,  running 
away  and  shouting'.  "Stop  those  assassins! 
Stop  them!  Arrest  them!"  During  this 
part  of  the  scene,  which  is  very  rapid,  the 
serenade  continues. 

{  Curtain  ) 


ACT  FOUR 

Scene. — The  meeting  place  of  the  Tribunal  of 
the  Inquisition.  It  is  a  low-vaulted  chamber  with 
ogive  arches,  lighted  with  candles.  On  the  walls 
are  religious  paintings.  At  the  foot  of  the  scene 
is  a  narrow  glazed  window.  At  the  right  is  a  large 
high  gate  closing  the  entrance  of  a  corridor  leading 
to  the  Episcopal  palace.  On  the  same  side,  in  the 
foreground,  are  seats  of  the  Tribunal.  Facing  the 
left  are  an  altar  and  a  ivooden  Calvary.  On  the 
other  side  of  them  are  an  iron  door  and  an  arch 
leading  to  the  jail.  Seats  and  stools  are  scattered 
about.  It  is  three  o'clock  in  the  morning.  At  the 
end  of  the  act  dawn  begins  to  light  the  windows. 

Scene  One 

The  Members  of  the  Tribunal,  FRAY  eugenio  ca- 
LABAZAS,  and  fray  teofilo  IBARRA,  Domini- 
cans, later  cleofas,  oliveira,  fray  miguel 
MOLINA  and  fray  hernando  albornos,  Fran- 
ciscans, An  Usher  of  the  Tribunal,  at  the  foot 
of  the  stage. 

As  the  curtain  rises,  Calabazas^  seated,  and 
Ibarra,  at   the  left   outside,  are  discovered 
95 


96  THE  SORCERESS 

talking  in  a  low  voice.     Cleofas  and  Fray 
Hernando  Albornos  enter  at  the  right. 

Cleofas.  {Advancing  into  the  scene)  I  have 
slept  so  well  after  that  excellent  feast!  Nothing 
is  more  injurious  to  the  health  than  being  startlingly 
awakened  during  one's  first  sleep. 

Albornos.  What  business  is  so  urgent  that  we 
must   convene   before    daybreak? 

Cleofas.  {Joining  the  group  at  the  left)  You 
Excellencies  should  have  the  goodness  to  tell  us. 

Calabazas.  We  know  no  more  about  it  than 
you. 

Ibarra.  We  were  greatly  surprised  at  the  morn- 
ing visit  of  the  agent  of  the  Tribunal.  We  are 
here  at  the  special  request  of  His  Eminence  to  con- 
sider a  pressing  and  serious  matter. 

Albornos.     Then  you  have  no  idea  what  it  is? 

Ibarra  and  Calabazas.     None. 

Cleofas.  {To  Molina,  who  enters  at  right) 
And  j'ou,   my  reverend   father? 

Molina.     No  more  than  you, 

Calabazas.  In  any  case,  I  think,  without  ques- 
tion, that  the  two  women  whom  we  again  examined 
after  vespers  are  guilty  of  sorcery, 

Molina.     Moreover,  they  confessed. 

Ibarra.     That  will  simplify  the  task. 

Cleofas.  {Seeing  Oliveira,  who  enters  at  the 
left)  Is  it  not  the  opinion  of  my  excellent  col- 
league. Master  Oliveira,  that  there  is  not  sufficient 
evidence  to  condemn  them? 

All   turn   tozvard  Oliveira   uith   questioning 
looks. 


ACT  FOUR  97 

Oliveira.  Since  my  very  venerable  colleague 
has  obliged  me  to  give  my  humble  opinion,  I  must 
confess  that  one  of  the  tv\'0  women,  the  one  called 
Afrida,  appears  to  m,e  to  be  an  old  fool,  who  after 
having  been  forced  to  listen  to  sorcery  and  witch- 
craft, is  possessed  with  the  idea  that  she  is  on  inti- 
mate terms  with  a  demon.  She  accepts  her  dreams 
and  nightmares  as  realities  and  every  woman  and 
girl  whom  she  knows  she  accuses  of  having  attended 
a  witches'  revel.  A  dozen  of  these  unfortunates 
have  been  placed  in  our  dungeons  since  yesterday. 
If  we  listened  to  that  vixen  all  of  the  women  of 
Toledo  would  be  sorceresses — especially  the  young 
ones! 

Calabazas.  Has  she  not  a  reason  for  accusing 
them  if  she  has  seen  them  at  these  revels? 

Murmurs  of  discreet  approbation. 

OlivI'IRA.  For  her  to  have  seen  them,  my 
father,  it  would  have  been  necessary  for  her  to 
have  gone  there  herself. 

Ibarra.     She  partook  in  them. 

Molina.     And  you  doubt  that? 

Oliveira.  For  a  good  reason! — As  she  pre- 
tended, in  spite  of  the  confining  walls  of  her  dun- 
geons, to>  be  able  to  attend  the  revels  again,  I  de- 
termined to  see  for  myself  whether  she  was  telling 
the  truth.  Three  times  during  the  night  I  found 
her  sleeping  deeply  on  the  pallet  in  her  cell  in  the 
prison.  When  she  awoke  she  told  me  all  that  she 
thought  she  had  seen  at  the  home  of  the  devil ! 

Albornos.  If  you  were  more  experienced  in 
these  matters.  Master  Oliveira,  you  would  know 
that   these  sorceresses  can   leave  their  bodies  lying 


98  THE  SORCERESS 

in   their  beds  and   at  the   same  time   attend   these 
Satanic  love-feasts. 

Murmurs  of  approbation. 

Cleofas.  And  that  in  the  same  bod}^  the  devil 
can  place  one  of  his  imps,  who  will  not  change  its 
appearance. 

Reneived  approbation. 

Calabazas.  And  the  other  sorceress? — This 
young  peasant  woman  from  Torrijos,  whom  they 
found  in  a  wood  at  dawn  stretched  naked  on  ground 
which  had  been  trampled  by  infernal  dances  and 
which  was  still  littered  with  the  remains  of  an 
infernal  feast  and  firebrands  and  ashes — Master 
Oliveira,  do  you  believe  she  too  is  innocent? 

Oliveira.  I  have  good  cause  to  believe  it! — 
She  is  a  poor  girl  from  the  fields  who  was  seduced 
by  her  master,  who  abandoned  her  and  her  child 
and  left  them  in  deep  misery.  A  passing  vagrant 
invited  her  to  go  to  a  witches'  meeting  where  Satan 
would  provide  her  with  plenty  of  gold.  He  took 
her  to  a  nocturnal  gathering  of  beggars  and  raga- 
muffins, who  with  the  aid  of  some  rogue  put  her 
into  a  sleep,  from  which  she  awakened  at  dawn  with 
the  vague  memory  of  horrible  debauchery! — An 
orgie!  Yes!  But  witches'  meeting? — Who  will 
prove  it? 

Cleofas.  The  sigillum  or  stigma  Diaboli,  Mas- 
ter Oliveira!  That  mark  which  the  devil  makes 
with  his  pitchfork,  or  the  horny  spots  on  the  bodies 
of  his  creatures,  such  as  we  have  found,  you  and 
I,  in  two  places  on  this  girl's  skin.  Our  needles 
penetrated  them  without  drawing  blood  and  they 
were  not   felt. 


ACT  FOUR  99 

Murmurs  of  approval. 
Oliveira.     I    found   three  on   the   body  of   the 
Superior  of  the  Incarnation,  who  afterward  died  in 
unquestioned  sainthood ! 

He  walks  toward  the  foot   of  the  stage,  fol- 
lowed by  the  eyes  of  the  displeased  Inquisi- 
tors. 
Calabazas.     {In  a  low  voice)     This  surgeon 
is  too  much  of  a  reasoner! 

Cleofas.  You  need  say  nothing  to  me  about 
it! — If  they  listened  to  him  they  would  burn  no 
one! 

Scene  Two 

the  same  persons,  then  padilla,  followed  by 

d'aGUILAR,  NOTARY  OF  THE  TRIBUNAL. 

Padilla,  pale  and  agitated,  quickly  enters  at 
the   left. 
The  Usher.      {Announcing)      His  Excellency, 
the   Governor. 

All    salute    Padilla,    luho    looks    about    for 
XiMENES  and  stops. 
Padilla.     His  Eminence  is  not  here? 
Albornos.     Not  yet.   Lord  Padilla. 
Padilla.     I  want  to  see  him! — I  must  speak  to 
him! 

He   makes  a  movement  to  leave. 

Calabazas.  Be  pleased  to  wait  for  him  with 
us. 

Padilla.  Yes!  yes!  {To  Calabazas)  Ah! 
my    father,    do   you    believe    it!      A   gentleman,    a 


loo  THE  SORCERESS 


soldier!  my  son- 


He  goes  toward  the  iron  door  and  waits  for 
XiMENES.  The       Inquisitors      surround 

D'Aguilar  in  the  foreground. 

Molina.  {To  D'Aguilar  in  a  low  voice) 
Some  misfortune  has  befallen  His  Excellency? 

D'Aguilar.  {In  a  low  voice)  Your  lord- 
ships, then,  do  not  know  why  you  are  called  to  meet 
at  this  hour? 

All.  {With  low  voices)  No!— Why?  What 
is  it? — We  know  nothing  about  it! 

D'Aguilar.  {The  same)  Lord  Palacios  has 
been  arrested. 

All.     Arrested! 

Calabazos.     Don   Enrique? 

D'Aguilar.     For  assassinating  Cardenos! 

All.     Good  God! — Is  it  possible!     Our  Agent! 

D'Aguilar.  With  the  assistance  of  a  woman ! 
— Both  were  fleeing  towards  the  river  when  stopped 
by  pedestrians,  who  heard  shouts  in  the  distance. 
The  fugitives  were  flung  to  the  earth  at  the  en- 
trance of  an  alley.  The  woman  cried  to  Don 
Enrique  desperately  and  in  vain:  "Kill  me!  Kill 
me!" 

Cleofas.     a  Mooress? 

D'Aguilar.     Yes. 

Cleofas.     It  is  Zoraya! 

The  Usher.     His  Eminence! 

All  turn  to  the  right  to  salute  the  Cardinal. 


ACT  FOUR  loi 


Scene  Three 

the   same   persons,   ximenes,   gil   andres, 

Keeper  of  the  Jail,  TWO  MONKS,  TWO  aides 

to  GIL  ANDRES  stand  at  the  entrance  of  the 

iron   door    at    the    left.        Tivo    Franciscan 

monks  watch  at  the  foot  of  the  stage  during 

the   act. 

Ximenes.     {To  Padilla)      God  has  summoned 

you   to   a  cruel   ordeal,   Padilla!      I   had   given   to 

Cardenos   orders   with    the   object   of   sparing  you. 

Who  had  foreseen  this  at  tlie  hour  when  I  blessed 

the  young  couple  in  the  cathedral — your  unfortunate 

daughter? 

Padilla.  She  has  heard  nothing  about  it.  I 
found  her  in  a  deep  sleep  and  I  ordered  them  not 
to  awaken  her.  I  would  always  be  too  soon  to 
tell  her  tTie  truth.  May  God  will  that  at  the 
same  time  she  shall  learn  that  Don  Enrique  is  in- 
nocent of  the  crime  with  which  he  is  accused! 
Ximenes.     No! — He  confesses  it! 

All  start. 
Padilla.     The  assassination? 
Ximenes.     Yes! — The     assassination,     his     in- 
famous relation  with   the  Saracen  woman  and  his 
plan  of  fleeing  to  African  soil. 

All  are  indignant. 
Padilla.      {After   a  gesture   of  despair)     The 
more  monstrous  the  crime  the  stronger  is  the  proof 
that  he  has  lost  his  reason! 

Ximenes.     It  is  for  this,  Governor,  that  I  have 
called  this  hasty  convocation  of  the  Tribunal  before 


I02  THE  SORCERESS 

the  scandal  bursts  forth — Toledo  must  not  know  at 
its  awakening  that  a  member  of  the  Council  of 
Castile,  one  honored  with  royal  favor,  commander 
of  the  archers  and  crossbowmen  of  the  city,  son  of 
a  long  line  of  Christians,  brave  soldier  and  your  son- 
in-law,  has  committed  such  crimes  without  know- 
ing that  he  had  a  right  to  some  explanation — being 
under  the  spell  of  this  woman's  sorcery — And  that 
is  what  all  say!     Where  is  Gil  Andres? 

Oliveira.  {Pointing  at  Gil  Andres  at  the  foot) 
Here,  Eminence! 

XiMENEs.  {To  Gil  Andres)  Has  she  spoken 
some  word  of  confession? 

Gil  Andres.  None,  Eminence.  She  has  said 
nothing  since  she  asked  about  Don  Enrique.  She 
appeared  to  care  less  about  her  own  delivery  than 
about  his. 

XiMENES,     Is  she  there? 

Gil  Andres.     Yes,  Your  Eminence. 

XiMENEs.  Go  get  her!  (Gil  Andres  goes  out 
at  left  with  his  two  aides.  To  Padilla)  Your 
Excellency  may  sit  down.  The  Tribunal  author- 
izes you  to  assist  in  questioning.  (Padilla  boivs. 
The  Tribunal  is  installed.  Ximenes  sits  on  a  chair 
before  the  other  judges.  Padilla  is  seated  at  the 
right  on  a  stool  loiver  than  the  platform.  The 
notary  sits  at  a  little  table  behind  him.  The  two 
physicians  are  seated  on  stools  at  the  side  of  th" 
platform  near  the  iron  door  at  the  right.  All 
icait.)  My  brothers,  never  more  than  at  this  hour 
had  we  a  better  reason  for  addressing  God  with 
our  usual  prayer:  Dominie,  auxilium,  in  reperi- 
enda  veritate,   sit   nobis,    Spiritus   Sanctus,   ad   ma- 


ACT  FOUR  103 

jorem  Fidei  gloriam. 
All.     Amen! 

XiMENES.     Exaudi  nos,  Domini. 
All.     Amen! 

They  seat  themselves.     GiL  Andres  opens  the 
iron  door  at  the  left. 
XiMENES.     {To    Gil    Andres)    Bring    in    the 
Mooress ! 

ZoRAYA  is  brought  in  through  the  iron  door. 
PFith  a  gesture  Gil  Andres  compels  her  to 
advance  into  the  7niddle  of  the  scene  where 
she  stops  and  waits. 

Scene  Four 

THE  SAME  persons,   ZORAYA 

XiMENES.  {To  Cleofas,  li'ho  rises  and  salutes) 
Do  you  wish  to  speak,  Master  Cleofas? 

Cleofas.  With  the  permission  of  Your  Emi- 
nence, before  the  accused  is  questioned,  I  should  like 
to  inform  the  Tribunal  that,  contrary  to  the  royal 
edict,  she  has  persisted  in  continuing  the  damnable 
Arabian  custom  of  painting  her  eyelashes,  eyelids 
and  eyebrows;  and  I  will  wager  that  her  heels  and 
toenails  are  gilded. 

XiMENES.     {To  Zoraya)  Is  this  true? 

Zoraya.     Yes,  Your  Eminence. 
Cleofas  seats  himself. 

XiMENES.  Let  that  pass — And,  Rain  of  Heaven, 
if  she  has  not  greater  crimes  to  expiate!  {To  TLo- 
raya)  Your  name? 

Zoraya.     Zoraya,  daughter  of  the  scholar  and 


104  THE  SORCERESS 

physician,  Abou-Abassa. 

Ironical  gesture  from    Cleofas   at   the   name 
physician. 

XiMENES.  Your  father,  it  appears,  was  a  genu- 
ine necromancer? 

ZoRAYA.  That  is  the  calumnious  assertion  of  ig- 
noramuses, who  interpret  as  diabolical  everything 
which  surpasses  their  own  knowledge. 

XiMENES.  He  left  you  the  knowledge  of  his  art 
of  healing? 

ZoRAYA.     Yes,  Your  Eminence. 

XiMENES.     Without  magic? 

ZoRAYA.     Yes,  without  magic. 

XiMENES.  You  are  accused  of  improper  rela- 
tions with  Don  Enrique  Palacios.  The  charge  is 
not  doubted,  as  your  accomplice  has  confessed. 

ZoRAYA.     Neither  do  I   deny  it. 

XiMENES.  You  know,  of  course,  that  for  you 
awaits  the  dungeon  and  for  him  the  galleys! 

ZoRAYA.     Love  is  stronger  than  fear! 

The   Governor  rises   and  salutes  XiMENES. 

XiMENES.     You  may  speak.  Governor. 

Padilla.  Ramiro  has  told  me  about  the  first 
meeting  of  Don  Enrique  and  this  woman,  who  had 
stolen  the  body  of  Kalem.  He  came  to  me  and 
confessed  something  which  he  had  always  kept  se- 
cret out  of  affection  for  his  master — that  Don  En- 
rique was  compelled  to  release  this  wretch  while 
visibly  fascinated  by  her  looks  and  magic  words, 
which  she  used  to  obtain  her  liberty. 

XiMENES.     {To  Zoraya)  Do  you  hear  that? 

The  Go7'ernor  sits  down. 

Zoraya.     I  had  recourse  to  nothing  but  the  usual 


ACT  FOUR  105 

attractions  of  all  women. 

XiMENES.  And  you  have  not  made  him  mad 
with  love  for  you  with  the  use  of  incantations, 
philters,  evil  methods? 

ZoRAYA.  With  no  other  philter  than  my  ardent 
love  for  him ! 

XiMENES.     Briefly,  you  deny  being  a  sorceress? 

ZoRAYA.  If  I  were  one,  I  should  be  far  from 
here! 

XiMENES.  The  Evil  One  enjoys  abandoning  his 
followers  during  their  time  of  peril.  And  j'ou  are 
suspected  of  sorcery  for  good  reasons,  being  the 
daughter  of  a  man  accused  of  magic  and  an  un- 
converted Mussulman — Why  have  you  not  re- 
nounced Mahomet  for  Christ? 

ZoRAYA.  I  saw  that  the  Christians  were  no  bet- 
ter than  we. 

Move7ne7its  among   the   inetiibers   of  the    Tri- 
bunal. 

XiMENES.  And,  naturally,  you  deny  being  at  a 
witches'  revel? 

ZoRAYA.  Ah!  certainly,  yes,  I  deny  it!  Yes,  I 
deny  it! 

XiMENES.  You  are  not,  then,  afraid  to  have  it 
proved  to  you — you  defend  jourself  with  such 
warmth  ? 

ZoRAYA.  How  can  I  prove  my  innocence  if  my 
denials  are  taken  as  confessions? 

XiMENES.  We  shall  see  what  they  are  worth. 
{To  Gil  Andres)  Bring  in  the  two  women  who 
are  there.     {To  Zoraya)  You  may  be  seated. 

ZoRAYA  sits  down  at  the  left  on  a  seat  next  to 
that  occupied  by  Calabazas. 


io6  THE  SORCERESS 


Scene  Five 

THE  same  persons,   MANUELA,   AFRIDA 

Gil  Andres  makes  both  women  enter  at  the 
left  at  the  same  time.     The  younger  one  re- 
mains at  the  foot  of  the  stage  betiveen  the 
ttvo  aides,  while  Gil  Andres  pushes  before 
him  old  Afrida^  whom  Zoraya  regards  with 
surprise  and  disgust. 
Ximenes.     (To  Afrida)  Come  forward!    (Gil 
Andres,  with  a  blow,  forces  Afrida  to  go  forward. 
To  D'Aguilar)  Write:  "Afrida."     {To  Afrida) 
You   confessed    the   other   day — (Afrida,   without 
looking  at  him,  makes  a  sign  to  him  ivith  her  left 
hand  to  keep  silent;  luith  her  right  hand  she  makes 
a  trumpet  to  her  ear  for  listening)  What  is  this? — 
Are  you  mocking  us? 

Gil  Andres.  With  your  permission.  Your  Emi- 
nence, she  is  thus  frequently  seen  holding  her  ear 
to  listen  to  her  favorite  demon,  whom  she  calls 
Verdelet. 

Ximenes.  That  demon  there  is  very  bold  to 
face  us  in  our  home!  Hello  there!  woman,  dismiss 
this  bad  gallant  and  answer  this  Tribunal,  which 
was  not  called  for  his  attendance. 

Afrida  smiles  like  an  idiot  and  makes  a  sign 
ivith  her  hand. 
Afrida.     Patience! — patience! — There  he  goes! 

She  laughs  stupidly. 
XiMENJJs.     What  are  you   laughing  at,  old  ri- 
bald? 


ACT  FOUR       >  107 

Afrida.  {Looking  the  same)  At  the  face  he 
made  when  he  went  out. 

XiMKNKS.  Take  care  that  you  are  not  seated  on 
a  wooden  horse!  {She  attempts  to  speak)  Enough 
of  those  mummeries.  You  confessed  tlie  other  day 
of  practisinj^  evil  acts  upon  your  neighbors,  causing 
their  children  and  fouls  to  die,  of  setting  fire  to 
their  roofs  and  sending  hail  upon  their  fields. 

Afrida.  To  avenge  myself  upon  those  who  were 
happier  than  I. 

XiMENi-s.  You  confessed  to  being  at  a  noctur- 
nal revelry  attended  by  witches,  did  you  not? 

Afrida.  Oh!  I  have  often  been  {counting  on 
her  fingers)   more  than  thirty  times. 

XiMENES.     By  what  power  do  you  go? 

Afrida.  The  black  sheep  or  the  large  red  cat, 
which  come  to  take  me  from  my  bed  while  I  sleep — 
And  then.  Gee-up!  gee-up!  across  the  fields,  accom- 
panied by  the  sound  of  bells  to  where  they  are  as- 
sembling. There  the  great  devil  Astaroth,  on  see- 
ing me,  says :  "Ah  !  here  is  my  little  Afrida !  Come, 
mignon,  come  here  that  I  may  pet  you!"  For  she 
loves  me  above  all  and  always  says:  "Go,  fear 
nothing,  my  little  chicken.  If  they  want  to  burn 
you,  I  shall  drag  away  the  wood  before  all  the 
world.  And  we  shall  laugh  then.  Oh!  we  shall 
laugh  well !     Ah !  how  we  shall  laugh  then !" 

She   writhes   and   chokes   with   laughter,   after 
being  seated  on  a  step  at  the  foot  of  Ximenes. 

XiMENES.  Yes,  yes!  we  laugh!  That  is  admit- 
ted ! — And  those  whom  you  accuse  of  having  been 
at  the  revel  with  you — will  Astaroth  also  save  them 
from  the  fire? 


io8  THE  SORCERESS 

Afrida.  {Hatefully)  Oh!  those  who  have 
treated  me  like  an  old  fool,  those  who  are  young 
and  togged  out,  I  shall  surely  let  them  burn  on 
your  fire,  while  Astaroth  carries  me  away! 

XiMENES.  Turn  your  eyes  a  little  to  that  side 
{indicating  to  her  Zoraya)  and  look  at  that  woman. 
{She  rises,  pointing  to  Zoraya)  Yes,  she  there! — 
Does  she  not  remind  you  of  something? 

Afrida.  {Approaching  Zoraya  and  leaning 
over  her)  Yes! — I  have  seen  that  nose  there  some- 
where! Raise  your  eyes  a  little,  beautiful!  What 
makes  you  dislike  to  see  me — {Suddenly)  Yes!  yes! 
I  remember  her! — Here  is  one  of  them! 

XiMENES.     One  of  whom? 

Afrida.  One  of  those  from  below,  there! — One 
of  those  who  danced  at  the  witches'  revel ! 

Zoraya.     {Indignant,  rising)   Me?     Me? 

Afrida.  Yes,  you !  Do  not  now  become  a 
straight-laced  prude;  I  have  seen  you  as  clearly  as 
I  see  you  now — carousing  with  us! 

Zoraya.  But,  you  lie,  you  wretch ! — You  lie ! — 
Do  not  believe  such  execrable  foolishness! 

Afrida.  {Furious)  Foolishness! — Ah!  you  treat 
me  as  a  fool,  also! — Yes,  my  lords,  yes,  I  have  seen 
her,  I  tell  you ;  I  have  seen  her  enraptured  in  the 
arms  of  a  goat-headed  devil ! 

Zoraya.     Oh!  it  is  false!     It  is  false! 

Afrida.  {Folloiving  her  in  the  scene  and  walk- 
ing round  her)  Go!  go!  You  were  given  by  the 
Evil  One  to  be  rich  and  beautiful !  You  will  be 
roasted,  my  girl!  {Laughing)  Roasted,  those  beau- 
tiful eyes  so  fiery! — roasted  your  skin  so  white, 
which   all   the   men  want  to  cling   to — roasted   all 


ACT  FOUR  109 

that,   roasted,   roasted! 

At  a  motion  from  Ximenes,  she  goes  out,  cry- 
ing,  follouing  by  GiL  Andres. 


Scene  Six 


THE    SAME,    WITHOUT   AFRIDA 

ZoRAYA.     Ah  !  the  horrible  old  woman  !- 


Ximenes.  An  insult  is  not  a  reply! — She  af- 
firms; you  deny.  The  accusation  stands.  And  the 
Tribunal  judges.  (To  Gil  Andres)  Bring  the 
other.  (They  make  come  forward  Manuela,  who 
is  weak  and  trembling  with  fright)  You,  also,  you 
have  confessed  it! — You  have  gone  to  the  witches' 
revels  ? 

Manuela.  Only  once,  Your  Eminence — Only 
once  I     Mercy ! 

Ximenes.     That  is  once  too  often! 

Manuela.  I  was  so  unfortunate! — My  employ- 
er drove  me  from  his  home  when  he  discovered  that 
I  was  to  become  a  mother — for  he  was  the  father 
of  the  child.  I  was  too  weak  to  work  in  the  fields 
and  no  one  would  keep  me  because  my  poor  baby, 
which  I  nourished  with  my  thin  milk,  was  so  hun- 
gry that  it  cried  all  of  the  time! — Ah!  I  have  never 
known  anything  but  shame  and  misery! — I  have 
prayed  fervently  to  God — He  has  done  nothing  for 
me — Then — Ah!  my  benevolent  lords! — {She  falls 
upon  her  knees  on  the  steps  before  Ximenes  and 
weeps)  Have  pity! — I  have  harmed  no  one! — And 
I  am  punished  enough  now! 


no  THE  SORCERESS 

XiMENES.     (Severely)  What  else? 

Manuela.  Then — a  gypsy  woman,  who  saw 
me  on  my  knees  before  a  cross  on  the  road  where 
I  had  been  begging,  said  to  me:  "You  are  foolish 
enough  to  address  that  object,  which  helps  only  the 
happy  ones  of  this  world!  Charity  for  the  poor 
comes  only  from  the  Other  One! — Come!  go  home 
with  me  and  you  will  see  for  yourself.  He  loves 
the  jolly  girls  and  will  give  you  an  apron  full  of 
gold!" 

XiMENES.  And  you  went  to  the  home  of  the 
Other  One? 

Manuela.  That  night — after  having  left  my 
child  with  a  w^oman  as  poor  as  myself — the  gypsy 
woman  conducted  me  into  a  wood  where  many  men 
and  bad  women  were  feasting  round  a  fire! — They 
gave  me  food  and  drink  and  more  and  more  of — 1 
know  not  what  kind  of  liquor — until  I  became  like 
a  fool! — And  after! — Ah!  God,  no,  oh!  no,  I  can- 
not relate  that ! — In  the  morning  I  lay  asleep  on  the 
ground,  poorer  than  before,  for  my  miserable,  ragged 
clothes  were  gone!  The  archers  threw  me  into  a 
dungeon,  where  I  have  done  nothing  but  shed  tears 
day  and  night,  thinking  of  my  poor  little  baby!  I 
do  not  know  what  has  become  of  that!  They  will 
not  tell  me!  {Sobbing)  Ah!  my  good  lords,  do  not 
make  me  more  miserable!  If  they  intend  to  burn 
me,  why  should  I  not  be  the  first  one  selected  from 
those  doomed  to  die? 

XiMENfiS.  Raise  your  head — and  look  at  this 
woman.  {Ma^u El. A  obeys)  Do  you  recognize  her 
as  one  of  those  who  attended  the  witches'  revel? 

Manuela.     {After   looking  at   Zor.\ya)    No, 


ACT  FOUR  III 

no,  Your  Eminence. 

XiMENES.  Look  at  her  carefully.  And  remem- 
ber that  you  will  receive  some  consideration  if  you 
answer  frankly. 

ZoRAYA.      {Going  to  her)  Yes,  look  at  me. 

Manuela.  {Trembling  after  looking  at  Zo- 
RAYA)  They  made  me  drunk — I  had  no  reason  left 
— I  do  not  remember  clearly! 

XiMENES.  Are  you  afraid  that  she  will  avenge 
herself? — She  cannot  harm  you! — Then,  confess 
that  you  saw  her  at  this  diabolical  feast! 

Manuela.  {M^iih  the  same  voice)  I  cannot  re- 
member! 

XiMENES.  Take  care,  for  w-e  have  sure  methods 
for  refreshing  your  memory. 

Manuela.  Have  mercy,  my  lord! — I  am  tell- 
ing the  truth ! 

XiMENES.  No! — You  recognize  her,  but  will 
not  admit  it! 

Manuela.  Should  I  accuse  an  innocent  one! — 
condemn  her  without  being  certain? — I  shall  lose  my 
soul !    . 

XiMENES.  The  safety  of  your  soul  depends  upon 
us — as  does  that  of  your  body! — Then,  you  have 
seen  her,  have  you  not? 

Manuela.     I  am  not  certain! — 

XiMENES.      {IVith  the  same  voice)  Andres! 

Manuela.  {Frightetied,  hetiueen  his  knees) 
No,  no!  Have  mercy! — mercy!  Do  nothing  more 
to  me! 

XiMENES.  {Very  sternly)  Do  you  recognize 
her? 

Manuela.     {In  tears)  Yes,  yes!     I  know  her! 


112  THE  SORCERESS 

— I  recognize  her!  {Falling  on  her  knees  at  Zo- 
raya's  feet)  Ah!  pardon,  pardon  me! — I  am  too 
weak ! 

ZoRAYA.      {Very   much   moved)   Yes,  poor  girl, 
yes!     I  pardon  you! 

XiMENES.     {To  Gil  Andres)  Take  her  away! 
Gil  Andres  raises  Manuela  and  leads  her 
aivay,  sobbing. 


Scene  Eight 
the  same  persons,  without  manuela 

XiMENJiS.  {To  Zoraya)  Here  is  more  testi- 
mony against  you. 

Zoraya.  {Indignant)  Testimony! — of  that  un- 
fortunate girl ! 

XiMENES.     According  to  her  own  confessions! — 

Zoraya.  Ah!  her  confessions! — made  under  the 
threats  of  your  tortures!  {Alovements  among  the 
members  of  the  Tribunal)  You  can  find  whatever 
pleases  you  with  the  aid  of  him,  there.  {She  points 
/o  Gil  AndrI^s)  You  can  convict  with  false  testi- 
mony and  you  can  make  innocent  ones  confess 
crimes  which  they  never  committed.  You,  yourself, 
Bishop,  under  torture  would  admit  going  to  a 
witches'  meeting! 

The  Inquisitors  make  movements  of  astonish- 
ment. 

XiMENiis.  {Calmly)  It  is  not  likely  that  I  shall 
have  occasion  to  submit  to  such  a  trial! — Prove  to 
us  that  these  women  have  lied ! 


ACT  FOUR  113 

ZoRAYA.  And  how  do  you  want  me  to  prove  It? 
— Is  it  possible  for  me  to  do  so? — You,  can  you 
prove  to  me  that  these  women  are  telling  the  truth? 
XiMENES.  That  is  the  opinion  of  the  Tribunal. 
ZoRAYA.  Then  all  of  them  say  that  I  must  be 
found  guilty  at  any  price.  That  could  be  done  in 
a  quicker  and  less  cowardly  manner. 

Murmurs  of  ifidignation  from  the  Inquisitors. 
XiMEXES.  Do  you  mean  to  defy  us? 
ZoRAYA.  Yes,  i  defy  all  of  you !  If  I  am  to  be 
condemned  before  I  have  an  opportunity  to  defend 
myself,  I  shall  have,  at  least,  the  pleasure  of  shout- 
ing my  hatred  to  this  Tribunal  of  the  Church,  which 
instead  of  being  more  human  than  those  who  be- 
lieve in  other  religions,  is  more  ferocious! 

Exclamations  from  the  Tribunal. 
Cai.abaz-a^.     Your  hatred,  villainous  Mooress! 
ZoRAYA.     Yes,  my  hatred! — Yes,   I  abhor  you! 
— I    abhor   you! — Priests! — who   set   upon    a   van- 
quished people  like  jackals  upon  the  bodies  of  the 
dead  after  the  battle! 

l^rotesfations  from  the  Tribunal. 
XiMENiiS.     Let  her  alone! — her  lips  are  betray- 
ing the  disease  from  which  she  is  suffering. 

ZoRAYA.  All  tlie  humiliations  and  sorrows  of 
defeat — we  have  known  them.  The_\-  have  changed 
our  mosques  into  churches,  our  courts  into  kennels, 
our  schools  into  stables!  They  have  broken  our 
aqueducts,  drained  our  fish-ponds,  burned  our  mills 
and  wine-presses,  cut  down  our  orchards  and  made 
sucli  a  desert  of  the  flowery  plain  of  Granada  that 
a  bee  cannot  gather  honey  upon  it!  But  that  was 
not  enough   for  us — we  must  have  miserj',   famine 


114  THE  SORCERESS 

and  the  brutality  of  soldiers!  There  must  be  re- 
fined cruelty  at  least,  so  you  invented  the  Inquisi- 
tion.— Thanks  to  that,  you  can  assure  yourselves 
with  joyful  hearts  that  we  are  punished  like  hard- 
ened heathens,  that  we  perish  in  your  oubliettes  and 
that  we  are  burned  alive  in  the  name  of  your  Sa- 
vior, who  taught  only  mercy  and  goodness!  {Point- 
ing to  the  Calvary)  And,  that  prophet — your  God! 
— crucified  by  the  Inquisitors  of  his  time ! — A  mar- 
tyr, whom  you  make  an  executioner !  ( There  is  a 
movement  of  protest  among  the  Inquisitors,  two  of 
ii'hom  rise  indignantly.  Zoraya  turns  toivard  the 
Christ  on  the  Calvary  and  addresses  it)  God  of  the 
Christians! — They  have  nailed  thy  feet  and  thy 
hands,  so  that  thou  canst  not  come  to  the  aid  of  the 
unfortunate!  But,  if  thou  canst  not  tear  thyself 
from  the  cross,  cry  at  least  unto  these  infamous 
judges  that  they  need  not  look  elsewhere  for  Hell 
and  the  gathering  of  witches — Here  is  the  Hell 
where  they  sacrifice  human  creatures,  where  they  of- 
fer to  thee  as  hymns  the  lamentations  of  the  tor- 
tured, and  as  incense  the  smell  of  burning  flesh ! 
Here  is  Hell.  Hell  with  its  furnaces.  Hell  with  its 
damned.  Hell!  Hell!  with  its  demons! 

She  falls  choking  and  weeping  upon  the  seat 
at  left.  The  Inquisitors,  protesting,  rise  and 
advance  into  the  middle  of  the  scene,  all 
speaking  at  the  same  time. 

Ai.L,     Blasphemy  ! — Blasphemy ! 

/'   ,.;P\'0;5.     Shall   we  let  this  Saracen  continue 
to  insult  the  Tribunal? 

Calabazas,     And  the  Church! 

Ibarra.     The    sentence! — Eminence!    the    sen- 


ACT  FOUR  115 

tence ! 

XiMENES.  {Who  remains  seated)  Be  calm! — 
She  is  not  alone  a  blasphemer  to  the  Governor  and 
me. — She  is  a  sorceress! 

Albornos.     That  has  been  proven ! 

XiMENES.  Not  yet.  I  must  have  more  testi- 
mony in  the  form  of  a  confession. 

Padilla.     Then  torture  her! 

XiMENES.  This  woman? — All  of  our  torments 
would  not  wrest  one  word   from  her. 

All.  What  other  means  will  you  use,  Emi- 
nence? 

XiMENES.  {Rising)  Then! — {Loud  enough 
for  ZoRAYA  to  hear  him)  We  shall  question  her 
accomplice  (Zoraya  starts)  and  ask  him  to  ex- 
plain the  reason  for  the  murder  of  Cardenos,  which 
he  confesses,  and  (Zoraya  again  starts)  why  this 
woman  was  in  his  house  on  such  a  night. 

Zoraya.     In  spite  of  that  he! {She  rises 

quickly.) 

XiMENES.     It    is    not    for    you    to    plead    his 


case 


Zoraya.  {Quickly,  going  to  Ximenes)  Yes, 
yes!  it  is  I!  (Ximenes  makes  a  sign  to  Gil 
Andres.)  Wait! — Oh!  wait,  wait,  then!  (An- 
dres stops.)  It  is  only  I  who  can  explain  for 
him !  —  He  was  maddened  by  my  tears,  my  re- 
proaches, my  furious  jealousy! — The  other  arrived 
and  insulted  me — then,  in  the  height  of  his  rage! 
— ^Ah  ! — that  crime — I  am  more  guilty  than  he ! 
Would  he  have  killed  him,  had  I  not  been  there? 
Jll  of  the  Inquisitors  advance  and  group  them- 
selves at  her  left. 


ii6  THE  SORCERESS 

XiMENES.  {Quickly  going  to  her)  Then  you 
wish  to  convince  us  that  this  murder  is  your  work? 

ZoRAYA.     Yes,  it  is  my  work! 

XiMENES,  It  is  you  who  caused  this  unfor- 
tunate man  to  become  an  assassin? 

ZoRAYA.     It  is  I ! — It  is  I ! 

XiMENES.  And  by  his  flight,  a  deserter  and  a 
renegade  ? 

ZoRAYA.     Yes!  yes! — It  is  I! — It  is  I ! 

XiMENES.  And  is  that  not  enough,  wretched 
woman !  It  must  be  that  you  are  bent  upon  his 
utter  ruin ! 

ZoRAYA.      I  ? 

XiMENES.  For  you  have  condemned  him  to 
death ! 

Padilla.     Without  pity,  too! 

ZoRAYA.  {Going  to  Padilla.  Ximenes  is  at 
her  right,  Padilla  at  her  left.  Albornos  and 
Ibarra  stand  behind  her.)  Oh!  how  horrible!  I 
would  give  my  flesh  and  blood  to  save  him! 

XiMENES.  No! — You  can  do  that  with  one 
word! — And  you  are  too  obstinate  to  speak  it! 

ZoRAYA.     One  word? 

Padilla.     Tell  the  truth ! 

ZoRAYA.     But,   I  told  it! — I  told  the  truth! 

XiMENES.  {Whispering  in  her  ear)  No! — 
there  is  one  thing  which  you  have  not  admitted — 
one  thing,  alone — which  will  make  him  innocent  of 
all  crime! 

Padilla.     And  save  him  from  all  punishment! 

XiMENES.     The  cause  of  his  madness! 

Padilla.     Madness  due  to  your  witchcraft! 

Albornos.     And   your  philters! 


ACT  FOUR  117 

XiMENES.     And  your  poisons! 

All   are    silent   for    an    instant,   during    which 
ZoRAYA   looks  at  them  stupefied. 

ZoRAYA.  Ah !  I  understand ! — I  understand ! 
{The  Inquisitors  are  silent)  You  want  me  to 
save  him?  Yes,  it  is  true!  It  is  true!  If  I  have 
made  him  mad  with  some  kind  of  a  philter,  he  is 
unconscious  of  his  acts!  He  is  not  guilty!  He  is 
more  my  accomplice!  He  is  my  victim!  That 
is  what  you  want,  is  it  not? — Is  it  not? 

XiMENiiS.     And  he  escapes  execution. 

Padilla.     He  will  be  sent  to  the  galleys! 

XiMENES.     To  prison! 

ZoRAYA.      (Quickly)      He  is  free? 

XiMENES  AND  PaDILLA.      YeS, 

ZoRAYA.  Ah!  say  so,  then! — say  it,  then!  On 
that  condition,  yes!  on  that  condition!  I  will  con- 
fess to  whatever  you  wish! — (Movement  of  satis- 
faction among  the  Inquisitors.)  But,  when  will 
you  set  him   at  liberty? 

XiMENES  AND  Padilla.     On  the  spot! 
ZoRAYA.     Then!      Quickly!   quickly! — Tell   me 
what  I  must  say! 

XiMENES   returns    quickly    to    his   seat.        Be- 
tween tivo  guards,  Enrique  appears  at  the 
iron    door.        Padilla    jnakes   him   advance 
to   the  left  out  of  sight  of  Zoraya,  ivhom 
the  Inquisitors  surround,  seated  and  stand- 
ing.     The  dtrk  writes.     All  this  takes  place 
rapidly. 
XiMENiiS.      (Leaning     toward     Zoraya)      You 
confess  of  your  own  free  will  and  with  repentance 
that   you   compelled   Enrique   Palacios  to  love  you 


,ii8  THE  SORCERESS 

madly- 


Padilla.  {To  Enrique,  in  a  low  voice)  Do 
you  hear  that? 

XiMENES.  And  that  while  infatuated  he  was 
guilty  of  crimes  of  which  he  had  no  knowledge, 
that  his  conduct  was  caused  by  philters  you  had 
given  him  and  by  enchantments  and  other  tricks 
of  the  black  art! 

ZoRAYA.      (Quickly)     Yes!  yes!     I   confess  it! 

XiMENEs.     You  confess? 

ZoRAYA.     Oh !  is  not  that  enough  ? 

XiMENES.  And  that  you  went  to  the  witches' 
dance? 

ZoRAYA.     Yes!  yes!     I  confess. 

Padilla  restrains  Enrique  from  moving  for- 
ward. 

XiMENES.  That  you  have  taken  part  in  dia- 
bolical  feasts  and   obscene  dances? 

Zoraya.     Yes! 

Enrique  again  attempts  to  go  forward. 

XiMENES.  And  that  you  gave  up  your  body  to 
the  lusts  of  all  present,  sorcerers  and  demons? 

Zoraya.     Yes!  yes! 

Enrique.  {Restrained  by  Padilla  and  Gil 
Andres)     Ah!  accursed  one! 

Zoraya.  {Turning)  Him!  Oh!  {She  at- 
tempts to  rush  to  hinij  but  fthers  prevent  her.) 
No!  Do  not  believe  that!  My  Enrique!  Not 
that!  not  that! — Do  not  believe  it! 

Enrique.     Away  from  me,  prostitute  of  Hell! 
Padilla  pushes  him  to  the  door.' 

Zoraya.     I  have  lied! — It  is  false!    It  is  false! 

XiMENES.      {Sternly)      It  is  false!     Detain  that 


ACT  FOUR  119 

man!      {The   guards   step    before    Enrique.      To 
ZoRAYA.)      Is  it  false? 

ZoRAYA.     No!  no! — It  is  true! — I  confess!     I 
confess!     It  is  true! 

She  falls  upon  the  steps  exhausted.     Padilla 
drags  Enrique  out  of  the  door  at  right. 
XiMENES.     We  shall  burn  her  after  vespers! 

( Curtain  ) 


ACT  FIVE 

Scene — Before  the  Door  of  the  Lions  of  the 
Cathedral  of  Toledo.  At  the  right,  the  portal  in 
front  of  luhich  are  a  number  of  steps.  In  the 
foreground,  an  alley.  There  are  two  other  alleys: 
one  very  narrow,  but  passable,  leads  obliquely  past 
the  church;  the  other,  at  the  left,  faces  the  scene, 
is  ifider  and  sloping.  At  the  left,  in  the  fore- 
ground, is  a  house  beyond  which  is  a  street  and  a 
pyre  for  burning  victims.  It  is  near  the  close  of  day 
and  the  heavens  are  red  with  the  glow  of  the  set- 
ting sun.  Tiuo  archers  guard  the  pyre.  Two 
others  stand  at  the  entrances  of  the  alleys  at  the 
foot  of  the  stage. 

Scene  One 

dona  rufina,  dona  syrena,  ramiro,  rioubos,  ve- 
lasco,  ambrosio,  cristobol,  torillo,  later 
cleofas,  people,  monks,  soldiers,  women 
and  children. 

There  are  few  persons  in  the  scene,  with  the 
exception  of  some  men  conversing  near  the 
doors.  A  group  of  gentlemen,  among  them 
Cristobol,  Velasco  and  Rioubos,  enter 
from  the  alley  at  the  foot  of  the  scene  and 

120 


ACT  FIVE  121 

« 

stop  to  look  at  the  pyre.  Dona  Si-rafina, 
DoxA  RuFiNA  and  Dona  Syrena,  pre- 
ceded by  Ramiro,  enter  from  the  other  al- 
ley at  the  same  time  that  Don  Ambrosio 
and  Dona  Fabia  come  out  of  the  house 
at  the  left.  Men,  tvoinen  and  children  are 
corning  out  of  the  Cathedral. 

Ramiro.     Here  is  the  pyre! 

Dona  Rufina.  They  intend  to  burn  her  to- 
night, do  they  not? 

Ramiro.     In    a   short    time,    Senoras — have   pa- 
tience.    I  have  seen  them  come  out  of  the  prison. 
After  examining  the  pyre,  they  join  Fabia  and 
Ambrosio  in  front  of  the  house. 

Dona  Syrena.  {To  Ramiro)  Is  there  any- 
thing new  concerning  Don  Enrique? 

Ramiro.  Yes,  good  news! — His  Lordship  is 
free! 

Dona  Rufina  and  Dona  Syrena.  Ah !  so 
much  the  better! 

Ramiro.  His  Eminence  has  gone  to  carry  the 
news  to  the  king,  leaving,  as  always,  his  business 
in  secular  hands — that  is  to  say,  leaving  His  Ex- 
cellency, the  Governor,  the  task  of  fulfilling  the 
sentence: — for  the  Church  will  not  spill  blood! 

Dona  Syrena.    Where  is  Don  Enrique? 

Ramiro.  At  this  moment,  I  do  not  know. 
(Cleofas  comes  out  of  the  church  ivith  two  per- 
sons, IV ho  salute  him  and  boiv.)  Here  is  Cleofas 
coming  out  of  the  church.  He  will  tell  you.  {He 
calls.)     Master  Cleofas! 

Cleofas.     Ah!     at    your    service!       {He    ap- 


122  THE  SORCERESS 


proaches.)      Charming  ladies !- 


Dona  Rufina.  We  were  speaking  of  Don 
Enrique. 

Dona   Syrena.      Saved,   by  the  grace  of  God! 

Ambrosio.  Was  he  released  without  punish- 
ment? 

The  young  men  form  in  groups  round  Cleo- 
FAS  and  the  others  in  the  foreground  at  the 
left. 

Cleofas.  Pardoned ! — This  evening  he  will  en- 
ter the  Franciscan  cloisters  to  do  penance  for  three 
months.  He  will  live  on  bread  and  water,  wear 
hair-cloth  and  sleep  on  cinders. 

Dona  Rufina.    That  is  a  jolly  honeymoon! 

Dona  Fabia.  And  what  does  his  young  wife 
say? 

Cleofas.     Dona  Joana? 

Dona  Fabia  and  Dona  Rufina.    Yes. 

Cleofas.  She  says  nothing!  Since  yesterday 
she  has  been  in  such  a  deep  sleep  that  they  cannot 
awaken  her. 

All.  {Turning)  Since  yesterday!  Is  that 
possible! 

Cleofas.  His  Excellency,  the  Governor,  was 
rejoicing  this  morning  because  his  daughter  knew 
nothing  of  what  had  happened  during  the  night. 
But  they  are  now  very  much  concerned.  She  had 
these  sleeps  in  the  convent.  But  this  is  a  longer 
sleep  than  the  others,  they  say.  Cleofas  is  the  only 
one  to  work  over  her. 

All.     Naturally. 

Cleofas.  Naturally! — I  cannot  make  her  show 
a  sign  of  awakening. 


ACT  FIVE 


123 


All.     Ah ! 

Cleofas.  Pinchings,  prickings!  I  have  tried 
everything  except  the  red-hot  iron,  to  which  His 
Excellency  objects!  Pain  has  vanished!  As  the 
Mooress  has  bewitched  the  poor  child,  my  art  is 
ineffective,  I  have  advised  the  only  effective  rem- 
edy: exorcism  in  the  same  church,  before  the  high- 
est altar.  (They  hear  the  chants  of  young  girls.) 
His  Excellency  and  Don  Enrique  have  had  the 
patient  carried  into  it — and  they  are  praying  that 
the  demon  which  possesses  her  will  be  chased  away. 
Master  Oliveira,  whom  I  left  there,  will  be  likely 
to  profit  and  become  an  exorciser  himself. 

He  salutes  and  takes  leave. 
Dona  Rufixa.     And  you  are  going? 
Dona  Syrena.     Without  seeing  them  burn  the 
Sorceress  ? 

Cleofas.     Pooh!      I   have  seen   such   things   as 

those  so  often  that  I  no  longer  find  them  tasteful. 

He  leaves  by  the  alley  at  the  right.     The  others, 

grouped  at  the  left,  look  at  Don  Enrique, 

who   comes   out   of   the   church   and  sloivly 

descends  the  steps. 


Scene  Two 


THE    SAME,    WITHOUT    CLEOFAS. 
RAMIRO,    TORILLO 


DON     ENRIQUE, 


Enrique.     {Calling    Ramiro,    luho    is    giving 
some  orders  to  his  archers)      Ramiro! 

Ramiro.      {Turning  and  quickly  going  to  him) 


124  THE  SORCERESS 

Ah!  my  lord!  What  a  relief  j'our  deliverance  is 
to  those  who  love  j'ou!  {He  kisses  his  hand.) 
And  what  joy  you,  yourself,  must  feel ! 

Enrique.  I  am  very  sad,  Ramiro,  at  the  sight 
of  the  pyre. 

Ramiro.  Has  Your  Honor  not  come  to  await 
the  arrival  of  this  creature? 

Enrique.  Guilty  as  she  is,  I  have  loved  her 
too  well  not  to  pity  her.  Tell  Torillo  to  come 
here  and  consult  with  me.  (Ramiro  speaks  in  a 
low  tone  to  Torillo.  The  songs  in  the  church 
cease.  Ramiro  goes  to  the  archers.  Torilla 
goes  to  Enrique  in  the  foreground.)  Are  you 
the  person  who  compels  the  condemned  ones  to 
mount  the  pyres? 

Torillo.  Yes,  my  lord,  and  I  also  light  the 
fires. 

Enrique.  How  can  you  sleep  after  doing  such 
work  ? 

Torillo.     From  habit. 

Enrique.  You  often  save  the  victims  from  the 
horror  of  being  burned  alive,  do  you  not? 

Torillo.  Yes,  when  the  Holy  Tribunal  gives 
orders  to  strangle  them  and  attach  them  to  the 
stake! 

Enrique.  You  have  not  received  such  an  or- 
der for  her? 

Torillo.     No,  my  lord. 

Enrique.  They  tell  me  that  the  parents  or 
friends  of  the  condemned  frequently  ask  such  a 
favor   of  you? 

Torillo.     It  is  true,  my  lord. 

Enrique.     And  do  you  consent  to  give  it? 


ACT  FIVE  125 

ToRiLLO.     For  charity. 

Enrique.     And  for  your  own  advantage,  also? 

ToRiLLO.    Those  are  my  little  profits. 

Enrique.  That  must  be  done  for  her. — What 
price  have  you  set  upon  such  concessions? 

ToRiLLO.  I  shall  leave  that  to  the  judgment 
of  Your  Grace.  But,  being  an  honest  man,  I  must 
tell  you  that  a  similar  request  has  been  made. 

Enrique.     By  whom? 

ToRiLLO.  By  a  woman-servant,  she  told  me,  in 
the  service  of  the  condemned. 

Enrique.     Aisha? 

ToRiLLO.     I  do  not  know. 

Enrique.     Has  she  paid  you? 

ToRiLLO.  She  has  given  me  ten  ducats  for 
agreeing  to  give  to  the  Mooress  a  little  waxen  pill 
the  instant  that  I  untie  her  hands  for  public  pen- 
ance. 

Enrique.  Yes!  yes!  I  understand! — You 
have  consented? 

ToRiLLO.  I  promised  without  fully  deciding  to 
do  so!  But,  now  that  Your  Grace  desires  it 
also 

Enrique.  Ah!  God,  yes! — and  you  shall  have 
a  thousand  ducats  tomorrow! 

ToRiLLO.     The  bargain   is  concluded,   senor. 

He  turns  to  go. 

Enrique.  {Detaiiiing  him  with  a  gesture) 
But  how  can  j'ou  prove  to  me  that  you  will  keep 
your  promise? 

ToRiLLO.  Because  the  victim  will  not  utter  a 
cry  when  I  set  fire  to  the  pyre;  if  she  restrains  then 
she  is  dead. 


126  THE  SORCERESS 

Enrique.     If  she  is  unable  to  utter  a  cry,  or 
a  groan,  I  will  double  the  sum. 

ToRiLLO.     The  bargain  is  settled,  my  lord. 

He  salutes  and  goes  away.     Enrique  turns 
to   enter  the  church.      Bells  begin  to  toll. 
The  assistants  go  to   the  foot  of  the  stage 
to  await  the  arrival  of  the  procession.      In 
the   distance  are   heard  sounds   of   the   mob 
preceding  the  condemned. 
Enrique.     {With  eyes  turned  toward  the  up- 
per street)      Is  that  you,  Oliveira? — Dona  Joana? 
Oliveira.     The   same   all   of   the   time.      {The 
distant  noises  are  approaching.)      Here  comes  that 
unfortunate  woman. 

Enrique.  Yes!  it  is  she! — Ah,  Oliveira,  who 
could  believe,  if  she  had  not  confessed  it  herself, 
that  this  exquisite  creature  is  a  detestable  magician  ? 
Oliviera.  {In  a  low  voice)  Oh!  her  confes- 
sions! (Enrique^  surprised,  turns  and  looks  at 
him.)  Don  Enrique,  you  axe  a  man  who  can  rely 
on  himself.  When  night  comes,  I  shall  leave  To- 
ledo for  I  have  much  to  fear  because  I  have  ex- 
pressed myself  too  frankly  concerning  this  poor 
woman,  who  is  no  more  a  sorceress  than  we  are 
magicians,  you   and  me! 

Enrique.  {Troubled)  Is  it  possible! — But 
her  confessions,   her  confessions? 

Oliveira.  They  wrung  them  from  her  when 
they  promised  your  freedom,  her  sorcery  giving  you 
an  excuse. 

Enrique.     And  when  she  cried  to  me:     "It  is 

false!     It  is  false!" 

The  sounds  come  nearer. 


ACT  FIVE  127 

Oliveira.  She,  you  see,  had  condemned  her- 
self to  the  stake! 

-Enrique.     Oh!  brute  that  I   am! — I  have  not 
understood ! 

Oliveira.      {Trying  to  calm  him)      Be  careful! 
Enrique.     Must  I  be  a  coward! — I  could  hack 
myself  into  pieces! 

Oliveira.  {Holding  him)  In  God's  name,  do 
nothing  foolish !  There  remains  one  more  chance 
for  you. 

Enrique.      (Quickly)   Joana? 
Oliveira.     Yes! — Be  careful,  or  they  will  hear 
us! 

^t  this  instant  the  mob  invades  the  place  from 
all  sides.  The  people  are  impatient  and 
unruly  and  the  archers  rush  in  jrom  the 
upper  street,  shouting,  and  restrain  them. 
The  cathedral  door  opens  wide.  Calaba- 
ZAS,  Albornos,  Ibarra  aiid  Molina  come 
out,  followed  by  other  Franciscan  and 
Dominican  monks,  ivho  group  themsehes 
under  the  portal,  zvhile  a  funeral  march  is 
played  on  the  organ.  The  bells  continue 
to  toll.  Oliveira  quickly  leaves  by  one 
of  the  streets.  Enrique  crosses  the  scene 
and  disappears  in  the  crowd.  The  archers 
have  great  difficulty  in  keeping  open  a  pas- 
sage for  the  procession,  which  slowly  enters 
from  the  upper  street.  The  clamors  of  the 
mob  are  redoubled.  Six  archers  of  the  In- 
quisition, dressed  in  black,  lead  the  cortege, 
followed  by  six  Franciscan  monks  carrying 
candles  and  murmuring  prayers.      Then  ap- 


128  THE  SORCERESS 

pear  ttuo  lantern-bearers,  follourd  by  a 
porter  carrying  a  figure  of  Christ  shaded 
by  a  small  black  dais,  and  Zoraya  zrith 
hands  tied  and  dressed  in  san-benito.  Gil 
AxDRES  and  his  two  assistants  follow.  Be- 
hind them  come  four  Franciscan  monks  car- 
rying torches.  The  archers  and  the  monks 
arrange  themselves  at  the  left  in  the  fore- 
ground. The  lantern-bearers  and  the  porter 
carrying  the  crucifix  stop  before  the  pyre. 
ZovLAYA,  escorted  by  Gil  Andres  and  his 
aides,  halts  in  front  of  the  portal.  While 
the  procession  is  marching,  the  bells  ring, 
the  organ  plays  and  the  mob  hurls  insults 
at  the  condemned  u'oman. 

Scene  Three 

the  same  persons,  zoraya,  calabazas,  albor- 
nos,  ibarra,  molina,  afterward  padilla. 

At  a  gesture  from  Calabazas,  Zoraya  stops, 
the  bells  stop  ringing,  the  mob  becomes 
quiet.      Indistinct  organ  music  is  heard. 

Calabazas.  {Standing  at  the  head  of  the 
steps)  Woman,  the  Inquisition  has  delivered 
you  over  for  punishment  to  Toledo.  Before 
you  are  purified  by  fire,  make  a  public  penance 
on  your  knees,  torch  in  hand,  (Torilla  un- 
ties Zoraya's  hand.)  And  ask  pardon  for  j'our 
crimes  from  God,  from  the  Church  and  from  the 
King. 


ACT  FIVE  129 

Gil  Andres  presents  the  torch   to  Zoraya. 
ZoRAYA.      {Spurning    the    torch)     Ask    pardon 
yourself,  priest,  for  the  crime  which  you  are  about 
to  commit. 

Alurmurs  from  the  crowd  and  the  priests. 
Calabazas.     (To     Gil    Andres)     Do     your 
duty! 

When  Gil  Andres  and  his  men  attempt  to 
lead  Zoraya  away  Enrique  rushes  into 
the  scene.  All  stop  instantly  when  Padilla, 
in  the  church,  cries  "Wait!"     He  enters. 


Scene  Four 

THE  SAME  persons,  PADILLA,   ENRIQUE 

Padilla.  {Coming  quickly  out  of  the  church 
with  Enrique)  Stop!  {The  organ  ceases  to 
play.  Songs  of  young  girls  are  heard  in  the 
church.)  Is  it  you,  sorceress,  who  have  plunged 
my  daughter  into  this  awful  sleep  from  which  even 
the  prayers  of  the  church  cannot  rouse  her? 

Zoraya.  It  is  I!  {Exclamations  from  the 
crowd.)     And  I  alone  can  bring  her  out  of  it. 

More  exclamations  from  the  crowd. 

Padilla.     Do  it  then,  demon! 

Zoraya.     Obey  you? — No! 

Padilla.     I  will  force  you  to  do  it! 

Zoraya.     You  cannot  burn  me  twice! 

Padilla.     Ah!  wretch! 

Zoraya.  Like  these  monks  you  have  had  no 
pity  for  me!     You  added  to  my  tortures  by  bring- 


130  THE  SORCERESS 

ing  my  lover  to  hear  me.  Now,  I  will  torture  you 
by  means  of  your  daughter.  Invoke  these  priests, 
ring  your  bells,  swing  your  censers!  Chant  your 
canticles!  She  will  awaken  only  at  the  sound  of 
my  voice!  When  my  body  is  burned  to  ashes,  she 
sleeps  her  last  sleep. 

Murmurs  of  indignation  from  the  crowd. 
ZoiL-WA  makes  a  movement  to  go  to  the 
stake. 

Padilla.  {Descending  the  steps  furiously) 
Seize  her!  {The  gaolers  move  toward  her.)  No! 
Wait!  {He  motions  them  back.)  Wait!  {To 
ZoRAYA.)  Ah!  Wretch,  I  am  at  your  mercy! — Is 
it  a  pardon  and  freedom  that  you  want? 

ZoRAYA.  No !  life  would  be  only  full  of  sorrow 
for  me!  I  prefer  death,  which  will  give  me  an 
opportunity  for  revenge! 

Enrique.  {Standing  between  Zoraya  and  the 
pyre)  No!  No!  Do  not  use  her  for  revenge. 
And,  in  exchange  for  the  life,  which  you  will  save, 
I  give  you  mine — give  him  his  daughter! 

Zoraya.  Ah!  poor  man,  who  implores  of  me 
a  favor  for  this  official — if  you  could  know- 


Enrique.      {In  a  low  voice)     I  know  all!- 


ZoRAYA.  {Looking  into  his  eyes,  trembling) 
Oh! 

Enrique.  {Tenderly)  All! — And  it  is  for 
the  life  of  this  innocent  girl  that  I  want  your  own 
— Zoraya ! 

Zoraya.  {Moved  by  his  accent)  Ah!  that 
word  is  enough ! — This  time  I  have  recognized  your 
voice! — Very  well,  if  the  governor  promises  to  par- 
don me. 


ACT  FIVE  131 

Padilla.     Absolutely! 
ZoRAYA.     On  your  oath! 

Mutterings  from  the  crowd. 
Padilla.     Before  God ! 

Louder  mutterings. 
Zoraya.     I   am    ready! 
Enrique.     Come,  then! 

He  turns  to  enter  the  church.     The  Inquisitors 
at  the  entrance  bar  his  way. 
Calabazas.     The    sorceress    cannot    cross    the 
threshold  of  the  church! 

Padilla.     Very  well! — They  can  bring  my  child 
here! 

Calabazas    and    the    Inquisitors.     Gover- 
nor  

Padilla.     I  will  be  obeyed! 

He  starts  for  the  doorway.      Enrique  rushes 
into  the  church.     Calabazas  and  the  other 
Inquisitors    surround    Padilla,    while    Zo- 
raya removes  her  cloak. 
Calabazas.     Padilla ! — Such  a  bargain  with  this 
woman ! 

Albornos.     It  is  a  compact  w^ith  a  demon! 
Padilla.     My  daughter!     I  want  my  daughter! 
Molina.     Do    you    want   her   before   going   to 
Hell,  yourself? 

Padilla.     If   that   is   the   price! — Give  her   to 
me! 

Ibarra.     There  goes  the  salvation  of  your  soul! 
Padilla.     The  salvation  of  my  daughter! 
Calabazas.     It   were    better    that    she    should 
die! 

Padilla.     Ah!   priests,  you   have  no   children! 


132  THE  SORCERESS 

But  the  King  is  a  father,  he — he  will  understand 
me! 

Four  girls  from   the  convent  of  Mercy  come 
out    of   the   church   folloived  by    tivo   nuns, 
Enrique    and    Fatoum,    conducting   lack- 
eys wearing  Padilla's  livery,  who   carry  a 
kind  of  easy  chair  in  ivhich  Joana  is  sleep- 
ing under  a  mantle   of  rich   material  orna- 
mented with   white   floivers.      The  chair  is 
deposited  at   the  foot   of  the  steps.       The 
crowd,   murmuring  with   interest  and  curi- 
osity,    draius     near.       Far    in     the     church 
women    are   singing   a    canticle.      Profound 
silence  follows.      All  the  assistants  go  for- 
ward,   stretching    their    necks    to    see    the 
women   of  the  first  rank.       The  nuns,   the 
young  girls,  and  Fatoum  and  Padilla  on 
their  knees,  are  under  the  portal.      To  the 
right,  at  the  entrance  of  the  alley,  are  AiSHA 
and  Zaguir,   ivho  luitnessed  Zoraya's  ar- 
rival.     ZoRAYA  stands  on  the  steps  behind 
Joana   and   raises   her   face  to    the   crowd. 
They  see  the  young  girl  pale  as  death,  her 
eyes  closed.      Enrique  stands  at  the  left, 
apart  from  the  others. 
ZoRAYA.      {Putting  her  fingers  on  Joana's  eye- 
lids, then   upon  her  head)     Joana!     Joana!      (Jo- 
ana moves.      ZoRAYA   breathes  on   her  forehead.) 
Awaken!      {With  authority.)      I  want  you   to! — 
(Joana    moves    with    effort   and    opens    her    eyes. 
Murmurs  from   the  assistants.)      Arise! 

fVith  Zoraya's  aid  Joana  raises  herself,  puts 
her  feet  on  the  ground  and  stands.     Clamors 


ACT  FIVE  133 

of    admiration    from    the    crowd.        JoANA 
looks  about  with  surprise. 
JoANA.     Where    am    I?      {She   sees    Zoraya.) 
The  Mooress! — Fatoum! — My  sisters! 
Padilla.     Joana ! 
JOANA.     My  father! 

She  throws  herself  into  his  arms.      Exclama- 
tions from   the  croiud. 
The  People.     A  miracle!     A  miracle! 
Calabazas.        (Forcibly)        Silence,        people! 
(The  crowd  is  intimidated.)      No  miracle  is  per- 
formed by  Satan! 

Padilla.  (Jt  the  head  of  the  steps)  Go  and 
thank  God!  {He  places  Joana  in  the  hands  of 
the  nuns,  who  conduct  her  into  the  church.  He 
turns  to  Zoraya.)  Go  in  peace,  Zoraya!  And 
all  of  you  let  the  Mooress  depart.  She  is  free! 
{To  Ramiro.)     Ramiro,  see  her  safely  home! 

He  enters  the  church  folloived  by  the  Inquisi- 
tors.       The    organs   intone   the    Te  Deum. 
Enrique,    under    the    portal,    exchanges    a 
look  of  farewell  with  Zoraya,  who  lingers, 
crossing  to  the  alley.     Before  her,  the  croiud 
draws  back  in  fright  and  spreads  out  at  the 
entrance  of  the  alley  to  let  her  pass.      The 
monks  quickly   cross  the  scene  and  bar  her 
egress.     Zoraya  turns  to  leave  by  the  other 
street,  but  other  monks  quickly  prevent  her. 
All  round  her  is  a  line  of  monks. 
A  Monk.     Christians!  are  you  going  to  let  this 
daughter  of  Hell  go  free? 
All.     No!     No! 

They   crowd  upon   Zoraya,  who  retreats   to- 


134  THE  SORCERESS 

ward  the  church.     Enrique,  ivho  has  seen 
the   movement  and   heard  the   words,  steps 
betzveen  her  and  the  monks. 
Enrique.     Out  of  here,  monks! — Make  way! 
The  Monks.     No!     No!     Seize  the  sorceress! 
The  Crowd.     Upon  the  sorceress! 

The  departing  crowd,  stopped  by  the  move- 
ments of  the  monks,  makes  a  threatening 
circle,  which  advances  upon  Enrique  and 
ZoRAYA^  who  retreat  toward  the  portal  of 
the  church. 
Enrique.     You  cowardly  wretches! 

He  draws  his  sword,  which  checks  them  for 
an  instant. 
A  Monk.     Palacios!     You  will  not  go  free  a 
second  time! 

Enrique.  Ramiro!  Arias!  My  archers,  help 
me! 

Instead  of  responding  to  Enrique's  call  for 
assistance,  Ramiro,  Arias  and  the  archers 
join  the  crowd  and  shout. 
All.      (Encouraged    by    this    tnove)      To    the 
stake!     To  the  stake  with  the  sorceress! 

ZoRAYA.  ( Taking  refuge  above  the  steps  of  the 
church,  then  under  the  portal)  They  will  kill 
you — Save  yourself! 

Enrique.      {Covering     his     retreat,     sword     in 
hand)      Go  into  the  church  ! — into  the  church  ! 
ZoRAYA  runs  to    the   closed   door,   which  she 
shakes  in  vain. 
ZoRAYA.     Open!     Open  for  us! 

No  response  is  heard  except  singing  and  organ 
music.      The  mob  laughs. 


ACT  FIVE  135 

The   Crowd,      {Howling  and  draiving  nearer) 
Death! — to   the  death! 

Enrique     meanwhilcj    facing    his    assailants, 
finds  himself  on   the  steps.     Zoraya  is  be- 
hind him. 
Enrique.     Ah!     Infamous  villains! 
Ramiro.       {Holding    back    the    archers)       My 
lord,   we   do   not  want  to   harm  you,   but  give  us 
that  woman ! 

Enrique.     No,  ruffians! 
The  Crowd.     To  the  death! 
A  Man  IN  THE  Crowd.     (ToTorillo)     Exe- 
cutioner,  prepare  your  pyre.     We  shall   burn  the 
sorceress  in  spite  of  him! 
The  Crowd.     Yes!    Yes! 

All  turn  to  look  at  ToRlLLO  and  the  stake. 
Zoraya.      {Seeing   no    one    looking   at    her   and 
Enrique)     Here  they  will  kill  both  of  us — Will 
you  not  save  yourself? 

Enrique.     To  me  life  among  such  brutes  would 
be  horrible! 

Zoraya.     Then    a    last    kiss! — Give    me    your 

lips ! 

She  puts  between  her  teeth  the  wax  pill.  Their 
lips  join.  ToRiLLO  appears  at  the  pyre, 
torch  in  hand,  amid  shouts  of  approval  from 
the  crowd,  vjhich  turns  menacingly  towards 
Zoraya  and  Enrique.  Suddenly  Enrique 
falls  and  rolls  down  the  steps  of  the  church, 
causing  the  mob  to  recoil  with  exclamations 
of  astonishment. 
Ramiro.  {Seeing  Zoraya,  who  has  fallen,  on 
her  knees  beside  Enrique)  To  the  stake  with  her! 


136  THE  SORCERESS 

The  sorceress  still  lives ! 

He  starts  toward  her. 
ZoRAYA.      {Partly      rising)     Too      late,      wild 
beast ! 

She  falls  and  dies. 
All.     To   the  stake   with   her  body!     To  the 
stake ! 

{Curtain) 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

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